We aim to keep an up-to-date selective bibliography, with links to online resources and in the SSSMG Repository. SSSMG members can submit entries as well as 'claim' anything they have authored themselves by completing this form.
You can filter using the 'search' field (separate your terms with spaces) and sort by any column by clicking it. (For instance, for all entries published in 2011 with the keyword "dynamic", try searching "2011 dynamic".) We are using the RILM classification system for document types (Media).
| Surname | Forename | Additional Authors | Unit Title | Source | Year | Media | External Link | Keywords | SSSMG Repository Link |
|---|---|---|---|---|---|---|---|---|---|
| Aav | Sebastian | Adaptive Music System for DirectSound | University of Linköping Campus Norrköping | 2005 | DM (M) | https://www.diva-portal.org/smash/get/diva2:21635/FULLTEXT01.pdf | dynamic music; DirectMusic; tools; middleware | ||
| Ahlers | Michael | Musik in Videospielen: Zwischen 8-Bit-Ästhetik und adaptivem Klanggeschehen | Musikforum, Heft 2/2009, 41-44 | 2009 | AP | history; adaptive music; 8-bit; technology | |||
| Aljanaki | Anja | Frans Wiering, Remko C. Veltkamp | Studying Emotion Induced by Music through a Crowdsourcing Game | Information Processing & Management 52/1, pp. 115-28 | 2016 | AP | http://www.sciencedirect.com/science/article/pii/S0306457315000424 | emotion; crowdsourcing; serious games; music information retrieval; Music Emotion Recognition; Geneva Emotional Music Scale | |
| Allouche | Khalid | Homam Albeiriss, Redouane Zarghoune, Juha Arrasvuori, Antti Eronen, Jukka Holm | Implementation and Evaluation of a Background Music Reactive Game | IE '07 Proceedings of the 4th Australasian conference on Interactive entertainment. RMIT University | 2007 | AS | technology; experimental; empirical; Briquolo; reactive games; game design | ||
| Alves | Valter | Licínio Roque | Guidelines for Sound Design in Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 362-383 | 2011 | AC | Sound design; enrichment; experience; intentional sound design; multi-disciplinary; emotion; context; acoustic ecology; soundscape; resonance; entrainment; sound layers | ||
| Andersson | Anders-Petter | Birgitta Cappelen | Musical Interaction for Health Improvement | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | health; sound design; interaction design; tangible interaction; musicking; co-creation; disability; empowerment; music therapy | ||
| Arditi | David | Virtual Jam: A Critical Analysis of Virtual Music Game Environments | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | political economy; cultural studies; popular music; internet; DAW; Pro Tools | |||
| Arnold | Matthew | Inside the Loop: The Audio Functionality of Inside | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0071-x | spectromorphology; immersion; sound design; musical suture | ||
| Arrasvuori | Juha | Playing and Making Music: Exploring the Similarities between Video Games and Music-Making Software | University of Tampere | 2006 | DD | music games; music-making software; ludus; paidia; Magix Music Maker; MTV Music Generator 2; eJay Clubworld; Beatmania; Amplitude; Gitaroo Man; Fluid; SingStar; Get on da Mic; 100% Star | |||
| Arsenault | Dominic | Guitar Hero: "Not like playing guitar at all"? | Loading... 2/2 | 2008 | AP | Guitar Hero; music games; interfaces; | |||
| Arsenault | Dominic | Paysages 8-bit. Musicalité et spatialité dans le jeu vidéo des années 1985-1990 | Inter 98, 9-12 | 2008 | AP | https://www.erudit.org/fr/revues/inter/2008-n98-inter1112108/45610ac.pdf | 8-bit; NES; spatiality; Mega Man 2; Castlevania III | ||
| Aska | Alyssa | Introduction to the Study of Video Game Music | Self-Published | 2017 | BM | game studies; introduction; sound music; gamification | |||
| Aslinger | Ben | Genre in Genre: The Role of Music in Music Games | DiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | 2009 | AS | rhythm games; Rock Band; Flow! Urban Dance Uprising; Dance Dance Revolution; Guitar Hero; genre; rock; hip-hop | |||
| Aspromallis | Christodoulos | Nicolas E. Gold | Form-Aware, Real-Time Adaptive Music Generation for Interactive Experiences | Proceedings of the Sound and Music Computing Conference 2016, SMC 2016. Sound and Music Computing: Hamburg, Germany. | 2016 | AS | https://discovery.ucl.ac.uk/id/eprint/1505747/1/Aspromallis_Gold_CR_.pdf | generative music; variation; dynamic; algorithmic music; interactivity; variation | |
| Atkinson | Sean | Soaring Through the Sky: Topics and Tropes in Video Game Music | Music Theory Online 25/2 | 2019 | AP | https://mtosmt.org/issues/mto.19.25.2/mto.19.25.2.atkinson.html | topics; tropes; video games; Final Fantasy; Legend of Zelda; film music | ||
| Audio Mostly | Proceedings of the Audio Mostly Conference | Proceedings of the Audio Mostly Conference | 2006 to 2010 | BS | Consult individual papers | ||||
| Auerbach | Brent | Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction | Music Theory Online 16/1 | 2010 | AP | http://www.mtosmt.org/issues/mto.10.16.1/mto.10.16.1.auerbach.html | aural skills; music theory pedagogy; rhythm; sight-reading; CAI; popular music; Dance Dance Revolution | ||
| Austin | Michael | Sample, Cycle, Sync: The Music Sequencer and Its Influence on Music Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AP | Chiptune Runner; My Singing Monsters; sequences; interface; affordance; organology; instrument; MDA | |||
| Austin | Michael | From mixtapes to multiplayers: Sharing musical taste through video games | The Soundtrack 8/1-2 | 2015 | AP | music games; remediation; participatory culture | |||
| Austin | Michael | ’Playas’ and Players: Racial and Spatial Trespassing in Hip Hop Culture Through Video Games | In Justin D. Burton and Jason Lee Oakes (eds.), Oxford Handbook of Hip Hop Music Studies. New York: Oxford University Press | 2018 | AC | http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/978019%20%20%200281090.001.0001/oxfordhb-9780190281090-e-55 | hip hop; race; digital minstrelsy; Grand Theft Auto; space; place; identity | ||
| Austin | Michael | Orchestrating Difference: Representing Gender in Video Game Music | In Nicholas Taylor and Gerald Voorhees (eds.), Masculinity at Play, London: Palgrave-Macmillan, 165-183 | 2018 | AC | http://link-springer-com-443.webvpn.jxutcm.edu.cn/chapter/10.1007/978-3-319-90581-5_10 | gender; masculinity; orchestration; instrumentation; gender bias; fantasy games; representation | ||
| Baccigalupo | Claudio | Design and Production of Audio Technologies for Video Games Development | Università degli Studi di Milano | 2003 | DM (M) | http://www2.iiia.csic.es/~claudio/papers/Baccigalupo-2003-MasterThesis-Section1.pdf | game design; history; technology; audio design | ||
| Baker | Nathan | The Music of Mario, Link, and Samus: Harmony, Form, and Meaning In Early Compositions by Koji Kondo and Hirokazu Tanaka | Analyzing the Music of Living Composers (And Others), ed. Jack Boss, Brad Osborn, Tim S. Pack, and Stephen Rodgers. Newcastle upon Tyne: Cambridge Scholars Publishing, 192-217. | 2013 | AC | music analysis; Super Mario Bros.; Metroid | |||
| Barbossa | Matthieu | La musique dans les jeux vidéo | Université Paris 8 Saint-Denis | 2009 | DM (M) | videogame music | |||
| Baxa | John | Effects of Contingent and Non-Contingent Audio on Performance and Quality of Experience in a Role-Playing Video Game | Kalamazoo College | 2008 | DM (U) | https://cache.kzoo.edu/bitstream/handle/10920/8995/JohnBaxaSIP.pdf?.. | empirical; experimental; immersion; dynamic music | ||
| Baysted | Stephen | Palimpsest, Pragmatism and the Aesthetics of Genre Transformation: Composing the Hybrid Score to Electronic Arts' Need for Speed Shift 2: Unleashed | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | dynamic music; composition; Need for Speed Shift 2: Unleashed; popular music | |||
| Baysted | Stephen | Simulation, Squaring the Immersion, Realism, and Gameplay Circle | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 328-337 | 2017 | AC | racing; cars; immersion; realism; Need for Speed; binaural recording; headphones; sound; Project Cars | |||
| Baysted | Stephen | Compositional Approaches to Film, TV and Video Games | In Nicholas Cook, Monique M. Ingalls and David Trippett (eds) The Cambridge Companion to Music in Digital Culture | 2019 | AC | composing; construction; implementation | |||
| Baysted | Stephen | Tim Summers | The Creative Process of Composing for Video Games : From Pitching to Gold Master and Beyond | Oxford Handbook of the Creative Process in Music . ed. / Nicolas Donin | 2020 | AC | https://doi.org/10.1093/oxfordhb/9780190636197.013.29 | racing games; dynamic music; interactive music; adaptive music; loops; layers; recording; scoring; development | |
| Belinkie | Matthew | Video Game Music: Not Just Kid Stuff | VGMusic.com | 1999 | EA | http://www.vgmusic.com/information/vgpaper.html | history; composer interviews; game design; technology; | ||
| Benveniste | Samuel | Pierre Jouvelot, Renaud Michel, Edith Lecourt | La Wiimprovisation en musicothérapie analytique de groupe: designe participatif avec des enfants atteints de troubles du comportement | Revue française de musicothérapie 29/3, 17-33 | 2009 | AP | https://hal.archives-ouvertes.fr/hal-00829753 | serious games; games for health; Wii; music therapy | |
| Berndt | Axel | Knut Hartmann | Strategies for Narrative and Adaptive Game Scoring | Audio Mostly - 2nd Conf. on Interaction with Sound, Fraunhofer IDMT, Ilmenau, Germany, September 2007, pp. 141-147 | 2007 | AS | dynamic music; composition; narrative; generated music | ||
| Berndt | Axel | Musical Nonlinearity in Interactive Narrative Environments | In G. Scavone, V. Verfaille, and A. da Silva (eds.) The International Computer Music Conference (ICMC) 2009, McGill University, Montreal, Canada, August 2009, pp. 355-358 | 2009 | AS | dynamic music; composition; narrative; generated music; transitions; | |||
| Berndt | Axel | Diegetic Music: New Interactive Experiences | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 60-76 | 2011 | AC | diegetic; diegesis; functions; implementation; nonlinearlity; controllability | |||
| Berndt | Axel | Knut Hartmann, Niklas Röber, and Maic Masuch | Composition and Arrangement Techniques for Music in Interactive Immersive Environments | In: Audio Mostly - A Conf. on Sound in Games, Interactive Institute/Sonic Studio, PiteÃ:¥, Sweden, October 2006, pp. 53-59 | 2006 | AS | dynamic music; composition; narrative; film music | ||
| Berndt | Axel | Knut Hartmann | The Functions of Music in Interactive Media | In: U. Spierling and N. Szilas (eds.) Interactive Digital Storytelling (ICIDS) 2008, Springer-Verlag Berlin Heidelberg, University of Applied Sciences Erfurt, Germany, November 2008, pp. 126-131. | 2008 | AS | dynamic music; perception; narrative; film music; functions | ||
| Berndt | Axel | Musik für interaktive Medien: Arrangement und Interpretationstechniken | Magdeburg University | 2011 | DD | dynamic music; composition; narrative; | |||
| Berndt | Axel | Adaptive Game Scoring with Ambient Music | In Monty Adkins and Simon Cummings (eds), Music Beyond Airports: Appraising Ambient Music (Huddersfield: University of Huddersfield Press), 197-226 | 2019 | AC | https://unipress.hud.ac.uk/plugins/books/19/ | Ambient music; Brian Eno; adaptive music; generative music; dynamic music | ||
| Bessell | David | What's That Funny Noise? An Examination of the Role of Music in Cool Boarders 2, Alien Trilogy and Medievil 2 | In Geoff King and Tanya Krzywinska (eds) Screenplay: Cinema/Videogames/Interfaces (London and New York: Wallflower) 136-144. | 2002 | AC | film music; functions; dynamic music; Cool Boarders 2; Alien Trilogy; Medievil 2 | |||
| Bessell | David | An Auto-Ethnographic Approach to Creating the Emotional Content of Horror Game Soundtracking | In Duncan Williams and Newton Lee (ed.), Emotion in Video Game Soundtracking (Cham: Springer) 39-50 | 2018 | AC | horror; dramaturgy; non-linearity; mixing | |||
| Beverburg Reale | Steven | Transcribing Musical Worlds; or, Is L.A. Noire a Music Game? | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | music games; L.A. Noire; analysis; BIT.TRIP; levels | |||
| Blickhan | Samantha | "Listening" Through Digital Interaction in Björk's Biophilia | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | Biophilia; music games; apps; iPad | |||
| Boer | James | Game Audio Programming | Hingham, Massachusetts: Charles River Media | 2003 | BM | game design; technology; programming | |||
| Bogost | Ian | Chapter 5: Music | How to do Things with Videogames (Minneapolis: University Of Minnesota Press) | 2011 | BM | DOI:10.5749/minnesota/9780816676460.003.0005 | music; videogames; music performance games; melody; rhythm | ||
| Borchers | Jan | Max Mühlhäuser | Design Patterns for Interactive Musical Systems | IEEE Multimedia 5/3 | 1998 | AP | middleware; technology; programming; WorldBeat | ||
| Böttcher | Niels | Stefania Serafin | A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player? | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | procedural audio; motoric behavior; self-produced sound; motion controllers; Max/MSP; granular synthesis; realism | ||
| Bouquet | Eric | Musique et son: leurs rôles dans l'immersion du joueur de jeux vidéo : de la culture musicale vidéoludique | Université de Bourgogne (Dijon) | 2010 | DM (M) | http://www.sudoc.fr/176469907 | videogame music culture; history of music; reception | ||
| Boyd | Andrew | When Worlds Collide: Sound and Music in Film and Computer Games | Gamasutra: Jan 17, 2003 | 2003 | EA | http://www.gamasutra.com/view/feature/131310/when_worlds_collide_sound_and_.php | game design; film music; audio design; | ||
| Braguinski | Nikita | Ästhetisches Rauschen. Die Werteökonomie der Computerklänge | In Shift-Restore-Escape. Retrocomputing und Computerarchäologie. Stefan Höltgen (ed.). CSW, 2014. | 2014 | AC | noise; aesthetics; value; perception; retro; 8-bit | |||
| Braguinski | Nikita | RANDOM. Die Archäologie der elektronischen Spielzeugklänge | Bochum: Projekt Verlag | 2018 | BM | unpredictability; iMuse; Ballblazer; Atari; Speak and Spell | |||
| Brame | Jason | Thematic Unity Across a Video Game Series | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/03_Brame_Thematic_Unity/index.html | music theory; Schenkerian analysis; Super Mario Bros.; Legend of Zelda; semiotics; composition; | ||
| Brandon | Alexander | Audio for Games: Planning, Process, and Production | Berkeley, CA: New Riders Games | 2005 | BM | audio design; technology | |||
| Bredin | Nicolas | Le son et la musique dans les jeux vidéo | Université Paris 8 Saint-Denis | 2004 | DM (M) | sound; videogame music | |||
| Bredin | Nicolas | L'expérience du joueur à travers l'histoire et sa représentation par le son et la musique | Université Paris 8 Saint-Denis | 2005 | DM (M) | story; musical representation | |||
| Brent | Auerbach | Pedagogical Applications of the Video Game Dance Dance Revolution to Aural Skills Instruction | Music Theory Online 16/1 | 2010 | AP | http://www.mtosmt.org/issues/mto.10.16.1/mto.10.16.1.auerbach.pdf | aural skills; music theory pedagogy; rhythm; sight-reading; CAI; popular music | ||
| Bridgett | Rob | Contextualizing Game Audio Aesthetics | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | postproduction; Scarface; audio director; sound design | |||
| Bridgett | Rob | Dynamic range: subtlety and silence in video game sound | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 127-134 | 2008 | AC | player control; dynamics; mixing; interactive; cultural artefact | |||
| Bridgett | Rob | From the shadows of film sound: cinematic production & creative process in video game audio: collected publications 2000-2010 | Self Published | 2010 | BM | audio design; film music; composition; technology | |||
| Brochard-Garnier | Thomas | L'appropriation de la musique occidentale dans le RPG japonais | Ecole des Hautes Etudes en Sciences Sociales | 2015 | DM (M) | Western music; J-RPG; appropriation | |||
| Bruno | Dan | Noteworthy: The Music That Influenced The Legend of Zelda: Ocarina of Time | Killscreen 1/5 (pp. 68-70) | 2011 | AP | Legend of Zelda | |||
| Bullerjahn | Claudia | Musik in Computerspielen. Vermarktungspotenzial, Nutzung und Wirkung | In Christofer Jost, Daniel Klug, Axel Schmidt and Klaus Neumann-Braun (eds.), Populäre Music, Mediale Musik? Transdisziplinäre Beiträge zu Medien der Populären Musik, Baden-Baden: Nomos, pp. 33-59 | 2011 | AC | http://www.academia.edu/4818621/Music_in_computer_games._Potential_for_marketing_utilization_and_effect | marketing; psychology; review; pop music; dynamic music | ||
| Burke | Kevin R. | Alien Waves: Sonic Reverberations of the RPG Interface in Lagrange Point | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 57-75 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | JRPG; FM synthesis; NES; Famicom; 8-bit; HCI; Human-computer interaction; Konami; VRC7; YM2413; Yume Penguin Monogatari; driver; chiptune; programming | ||
| Burrill | Derek A. | Melissa Blanco Borelli | Dancing with Myself: Dance Central, Choreography, and Embodiment | In Melissa Blanco Borelli (ed.), The Oxford Handbook of Dance and the Popular Screen (Oxford: Oxford University Press) | 2014 | AC | Dance Central; avatar bodies; choreography; Kinect; embodiment | ||
| Capacchione | Tristan | Musical Gamescapes: A Study of Unity in Arcanum: Of Steamworks and Magick Obscura | Self Published (?) | 2007 | EA | https://www.hitpages.com/doc/5071230289838080/1#pageTop | music theory; Arcanum; ludus; paidia; gamescape; | ||
| Carlsson | Anders | Chip music: low-tech data music sharing | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 153-162 | 2008 | AC | chip music; demoscene; history; LP; EP; electronic music; music writing software; tracker; 8-bit | |||
| Cassidy | Gianna | Raymond MacDonald | The effects of music choice on task performance: A study of the impact of self-selected and experimenter-selected music on driving game performance and experience | Musicae Scientiae 13/2 357-386 | 2009 | AP | psychology; arousal; preference; performance; driving games | ||
| Cassidy | Gianna | Raymond MacDonald | The Role of Music in Video Games: The The Effects of Self-Selected and Experimenter-Selected Music on Driving Game Performance and Experience | Proceedings of the 10th International Conference on Music Perception and Cognition, 2008, Sapporo. pp. 762–767. | 2008 | AS | immersion; experience; game design; empirical; psychology; cognition | ||
| Cerrati | Michael | Video Game Music: Where it Came From, How it is Being Used Today, and Where it is Heading Tomorrow | Vanderbilt journal of entertainment and technology law, 8/2, 293-334. | 2006 | AP | history; financial statistics; licensing; legal; marketing; | |||
| Chan | Norman | A Critical Analysis of Modern Day Video Game Audio | University of Nottingham | 2007 | DM (U) | composer interviews; Civilization IV; Grand Theft Auto; Hitman: Blood Money; dynamic music; composition; music theory; diegetic music; | |||
| Cheng | William | Role-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online | Ethnomusicology 56/1, 31-62 | 2012 | AP | virtual ethnography; Lord of the Rings Online | |||
| Cheng | William | Monstrous Noise: Silent Hill and the Aesthetic Economies of Fear | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | Silent Hill; horror; noise; industrial music | |||
| Cheng | William | Acoustemologies of the Closet | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press), 337-48 | 2014 | AC | virtual ethnography; online voice communication; gender; identity; sexual politics | |||
| Cheng | William | Afterword--Toadofsky's Music Lessons | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Super Mario RPG: Legend of the Seven Stars; musicality; music games; affordance | |||
| Cheng | William | Sound Play: Video Games and the Musical Imagination | Oxford; New York: Oxford University Press | 2014 | BM | aesthetics; virtual ethnography; Fallout 3; Final Fantasy VI; Silent Hill; Lord of the Rings Online; Team Fortress 2; concerts | |||
| Childs IV | G. W. | Creating Music and Sound for Games | Boston, MA: Thompson Course Technology | 2007 | BM | composition; sound design; design process; middleware; dynamic music; | |||
| Chung | Szu-Ming | Chun-Tsai Wu | Designing Music Games and Mobile Apps for Early Music Learning | In Serious Games and Edutainment Applications, Volume II. Minhua Ma, Andreas Oikonomou (eds.). Cham: Springer | 2017 | AC | rhythm games; early music learning; android; apps | ||
| Collins | Karen | From Pac-Man to Pop Music: Interactive Audio in Games and New Media | Aldershot, Hampshire and Burlington, VT: Ashgate | 2008 | BC | See individual entries | |||
| Collins | Karen | Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design | Cambridge, Mass. and London: MIT Press | 2008 | BM | history; technology; console hardware; aesthetics; dynamic music; composition; | |||
| Collins | Karen | An Introduction to Procedural Audio in Video Games | Contemporary Music Review: Special Issue on Generative Audio, 28/1, 5-15 | 2009 | AP | technology; composition; procedural audio; dynamic music | |||
| Collins | Karen | From Bits to Hits: Video Games Music Changes its Tune | Film International, 12, 4-19 | 2005 | AP | history; composition; dynamic music; music games; technology; console hardware | |||
| Collins | Karen | An Introduction to the Participatory and Non-Linear Aspects of Video Game Audio | In Hawkins, Stan and John Richardson (eds), Essays on Sound and Vision (Helsinki: Helsinki University Press), 263-298 | 2007 | AC | dynamic music; diegesis; composition; transitions; functions; Legend of Zelda; Grim Fandango; immersion; | |||
| Collins | Karen | Implications of Interactivity: What Does it Mean for Sound to be “Interactive”? | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | interactivity; feedback; control mechanisms; sound production; digital aesthetics; new media | |||
| Collins | Karen | Introduction | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 1-10 | 2008 | AC | history; game research; | |||
| Collins | Karen | Holly Tessler, Kevin Harrigan, Michael J. Dixon, Jonathan Fugelsang | Sound in Electronic Gambling Machines: A Review of the Literature and its Relevance to Game Sound | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 1-21 | 2011 | AC | EGMs; electronic gambling machines; arcade; advertising; gambling; casino; environment; physiology; sound; film; television | ||
| Collins | Karen | Breaking the Fourth Wall? User-Generated Sonic Content in Virtual Worlds | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | multi-player; fourth wall; user-generated content; immersion; participation; magic circle | |||
| Collins | Karen | A History of Handheld and Mobile Video Game Sound | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | handheld consoles; technological constraints; sound chips; mobile phones; media convergence | |||
| Collins | Karen | Grand Theft Audio?: Popular Music and Interactive Games | Music and the Moving Image 1/1 | 2008 | AP | popular music; licensing; history; | |||
| Collins | Karen | Video Games Killed the Cinema Star | Music, Sound and the Moving Image, 1/1, 15-20 | 2007 | AP | video game music studies; influence; | |||
| Collins | Karen | Flat Twos and the Musical Aesthetic of the Atari VCS | Popular Musicology Online, 1 | 2006 | AP | technology; composition; Atari VCS; console hardware; aesthetics; chip music; 8-bit; | |||
| Collins | Karen | S. Ashby, T. Bush, J. Daoust, N. Duveau, J. Lewis, C. Robinson, T. White, G. Whitmore | Overcoming Roadblocks in the Quest for Interactive Audio | Project Bar-B-Q report 2007 | 2007 | AS | technology; composition; dynamic music; audio design; | ||
| Collins | Karen | Loops and Bloops: Music on the Commodore 64 | Soundscape: Journal of Media Culture, 8/1 | 2006 | AP | technology; composition; Commodore 64; console hardware; aesthetics; dynamic music; 8-bit; | |||
| Collins | Karen | In the Loop: Confinements and Creativity in 8-bit Games | Twentieth-Century Music, 4/2, 209-227 | 2007 | AP | technology; composition; history; console hardware; 8-bit; | |||
| Collins | Karen | Ruth Dockwray | Drive, Speed, and Narrative in the Soundscapes of Racing Games | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 400-411 | 2017 | AC | cars; realism; authenticity; narration; aesthetics; Forza; Gran Turismo; Need for Speed; recording | ||
| Collins | Karen | Game Sound in the Mechanical Arcades: An Audio Archaeology | Game Studies 16/1 | 2016 | AP | audio; mechanical; Victorian; archaeology; sound; history; recording | |||
| Collins | Karen | Desert Island Diskettes: A Journey through Video Game Sound History | Game: The Italian Journal of Game Studies 6/2 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_CriticalNotes_Collins.pdf | playlist; history; Beep | ||
| Collins | Karen | Game Sound: Reverberations | Journal of Sound and Music in Games 1/1, 100-102 | 2020 | AP | game sound; music; history; scholarship; emergence; industry | |||
| Collins | Karen | Playing with Sound: A Theory of Interacting with Sound and Music in Video Games | Cambridge, Mass. and London: MIT Press | 2013 | BM | interaction; embodied cognition; experience; performance; theory | |||
| Cook | James | Playing with the Past in the Imagined Middle Ages: Music and Soundscape in Video Game | In Dorothy Kim and Christopher Roman (eds.), Sounding Out! 'Theme: Medieval Soundscapes'. 3 October 2016. | 2016 | EA | https://soundstudiesblog.com/2016/10/03/playing-with-the-past-in-the-imagined-middle-ages-music-and-soundscape-in-video-game/ | Medievalism; early music; fantasy; high fantasy; social structure; sonic; representations of the past | ||
| Cook | Karen | Beyond the Grave: The “Dies Irae” in Video Game Music | Sounding Out! | 2017 | BG | https://soundstudiesblog.com/2017/12/18/beyond-the-grave-the-dies-irae-in-video-game-music/ | chant; dies irae; medievalism | ||
| Cook | Karen | Beyond (the) Halo: Plainchant in Video Games | Studies in Medievalism XXVII: Authenticity, Medievalism, Music | 2018 | AC | http://medievalism.net/?page_id=55 | chant; plainchant; halo; medievalism | ||
| Cook | Karen M. | Music, History, and Progress in Sid Meier's Civilization IV | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Civilization IV; music history; classical music | |||
| Cook | Karen M. | “The Things I Do for Lust …”: Humor and Subversion in The Bard’s Tale | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 21-34 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | parody; song; voice; cutscenes; genre; identity; folk; celtic; medievalism; Scotland | ||
| Cook | Karen | Medievalism and emotions in video game music | Postmedieval 10/4, 482–497 | 2019 | AP | https://link.springer.com/article/10.1057/s41280-019-00141-z | bell; organ; voice; medievalism; textless; wordless; gothic; emotion; supernatural; history; historical | ||
| Cook | Karen | Canon Anxiety? | Journal of Sound and Music in Games 1/1, 95-99 | 2020 | AP | canon formation; historiography; authority; diversity | |||
| Costello | Brigid Mary | Rhythmic Entrainment in Games | In Serious Games: Second Joint International Conference, JCSG 2016, Brisbane, QLD, Australia, September 26-27, 2016, Proceedings (Marsh, T., Ma, M., Oliveira, M. F., Baalsrud Hauge, J. & Göbel, S. eds.) | 2016 | AS | rhythm games; entrainment; serious games | |||
| Courcelle | Kevin | Techniques d'écritures musicales dans le JRPG: exemples de Final Fantasy VII et Final Fantasy VIII | UPEM | 2015 | DM (M) | https://ffmusic.files.wordpress.com/2019/02/courcelle-kevin-technique-dc3a9criture-jrpg-2.pdf | Musical analysis; FInal Fantasy VII; Final Fantasy VIII; Nobuo Uematsu | ||
| Covarrubias Acosta | Sabina | Pour une écriture multimédia dans la composition musicale | Paris 8 | 2016 | DD | https://hal.archives-ouvertes.fr/tel-01664506 | music notation, oral tradition, ethnomusicology, contemporary music, multimedia | ||
| Crathorne | Pieter | Video game genres and their music | University of Stellenbosch | 2010 | DM (M) | http://scholar.sun.ac.za/bitstream/handle/10019.1/4355/Crathorne,+P.J.pdf?sequence=1 | genre; art music; film music; music theory; | ||
| Cunningham | Stuart | Vic Grout, Rich Picking | Emotion, Content, and Context in Sound and Music | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 235-263 | 2011 | AC | Sound artefacts; information; processing; meaning; purpose; emotion; content analysis; context | ||
| Cury | Mónica Moreira | La Música de los Videojuegos: Modalidades de Uso y Su Relación Con El Imaginario Social. Un Estudio Sobre La Banda Sonora Del Juego: Final Fantasy VI' | University of Chile | 2004 | DM (M) | function; social implications; film music; Final Fantasy VII | |||
| Custodis | Michael | Playing with Music - Featuring Sound in Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| D’Errico | Mike | Worlds of Sound: Indie Games, Proceduralism, and the Aesthetics of Emergence | Music, Sound, and the Moving Image 9/2 | 2015 | AP | https://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/msmi.2015.13 | indie; sound design; generative music; procedural music; Fract OSC; Proteus | ||
| d’Escriván | Julio | Nick Collins | Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games | Journal of Visual Culture 10/2 | 2011 | AP | audiovisual; education interactivity; learning; music games; rewards; skills | ||
| Dahan | Julien | La musique de jeux vidéo comme objet d'étude | Allemagne | 2016 | DM (M) | http://www.sudoc.fr/199557888 | music education; motivation; teenage students | ||
| DeCastro | Daniel | Quality Video Game Music Scores, Considering the Standards Set, and Personal Reflections | New York University | 2007 | DM (M) | http://www.vgmusic.com/information/vgpaper3.html | composition; aesthetics; music education; concerts; | ||
| Demers | Joanna | Dancing machines: :Dance Dance Revolution', cybernetic dance, and musical taste | Popular Music 25/3, 401-414 | 2006 | AP | music games; society; subcultures; Dance Dance Revolution; popular music; dance | |||
| Denis | Guillaume | Jeux vidéo éducatifs et motivation: application à l’enseignement du jazz | Ecole Nationale Supérieure des Mines | 2006 | DD | http://www.sudoc.fr/11856885X | psychology of learning, jazz, educational games, Pads'n'Swing, motivation theory | ||
| D'Errico | Mike | How To Reformat The Planet: Technostalgia And The “Live” Performance Of Chipmusic | Journal on the Art of Record Production 6 | 2012 | AP | chiptune; ethnography; tracker interfaces; Game Boy; Bitshifter | |||
| D'Errico | Michael | Worlds of Sound: Indie Games, Proceduralism, and the Aesthetics of Emergence | Music, Sound and the Moving Image 9/2, 191-206 | 2015 | AP | https://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/msmi.2015.13 | generative; procedural; indie; sound design; Proteus | ||
| d'Escrivan | Julio | Electronic Music and the Moving Image | In Nick Collins and Julio d'Escrivan (eds.), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press), 156-170. | 2007 | AC | film music; electronic music; audio design; composition; television music; | |||
| Deutsch | Stephen | Music for Interactive Moving Pictures | In Larry Sider, Diane Freeman and Jerry Sider (eds.) Soundscape: The School of Sound Lectures 1998-2001 (London and New York: Wallflower Press) 28-34. | 2003 | AC | film music; history; composition; electronic music; transitions; | |||
| Diaz-Gasca | Juan Sebastian | Music Beyond Gameplay: Motivators in the Consumption of Videogame Soundtracks | Queensland Conservatorium of Music, Griffith University | 2015 | DD | https://www120.secure.griffith.edu.au/rch/items/839fcd41-d5de-49eb-b062-955fa92c23b1/1/ | soundtrack; narrative; marketing; sociocultural; nostalgia; consumption; themes; associations; fandom | ||
| Diaz-Gasca | Sebastian | Super Smash Covers!: Performance and audience engagement in Australian videogame music cover bands | Perfect Beat 19/1 | 2018 | AP | https://journals.equinoxpub.com/index.php/PB/article/view/34525 | Australian cover bands; Boss Fight; The Consouls; performance; fan studies | ||
| Dibben | Nicola | Visualizing the App Album with Björk’s Biophilia | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | music app; music album; interactivity; multisensory; Björk; Biophilia | |||
| Dittbrenner | Nils | Soundchip-Musik Computer- und Videospielmusik von 1977-1994 | Universität Lüneburg | 2005 | DM (M) | history; console hardware; technology; composition; 8-bit; dynamic music; chip music; | |||
| Dockwray | Ruth | Karen Collins | A Symphony of Sound: Surround Sound in Formula One Racing Games | In Paul Théberge, Kyle Devine, Tom Everett (eds.), Living Stereo: Histories and Cultures of Multichannel Sound, New York; London: Bloomsbury | 2015 | AC | racing game; Formula One; surround sound; sound effects; Low Frequency Effects | ||
| Dolphin | Andrew | Defining Sound Toys: Play as Composition | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | sound toys; open work; instruments; spectromorphology; generative systems | |||
| Donnelly | K.J. | Lawn of the Dead: The Indifference of Musical Destiny in Plants vs. Zombies | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Plants vs. Zombies; dynamic music; anempathetic music; horror games | |||
| Donnelly | K.J. | Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films | In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. Liz Greene, Danijela Kulezic-Wilson (eds.). London: Palgrave Macmillan | 2016 | AC | Silent Hill; adaptations; film; unified soundtracks | |||
| Doucet | Jeanne | Le timbre comme élément signifiant dans la musique de jeu vidéo: le cas de World of Warcraft de Blizzard Entertainment | Université de Montréal | 2016 | DM (M) | https://papyrus.bib.umontreal.ca/xmlui/handle/1866/19205 | psychoacoustic; musical meaning; timbre; World of Warcraft | ||
| Dozal | Mario A. | Consumerism Hero: The "Selling Out" of Guitar Hero and Rock Band | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | rock; political economy; authenticity; Guitar Hero; Rock Band; rhythm game; commodification; conspicuous consumption | |||
| Drescher | Peter | Could ringtones be more annoying? | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 47-54 | 2008 | AC | transfer; sonic quality; future; MP3; technology; customization | |||
| Driscoll | Kevin | Joshua Diaz | Endless Loop: A Brief history of Chiptunes | Transformative Works and Cultures 2 | 2009 | AP | 8-bit; demo scene; participatory culture; sampling | ||
| Droumeva | Milena | An Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, Ecology | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 131-152 | 2011 | AC | Fidelity; verisimilitude; acoustic realism; communication; patterns of listening; acoustic communities; ecology; listening modes; attentional stances; soundscapes; culture | |||
| Dupas | François-Xavier | Composer à l’image: style, production et interactivité | Université de Montréal | 2017 | DD | https://papyrus.bib.umontreal.ca/xmlui/bitstream/handle/1866/19570/Dupas_Francois-Xavier_2016_these.pdf?sequence=4&isAllowed=y | composition, multimedia, picture, integration, interactivity, momentum, generativity | ||
| Ekman | Inger | Petri Lankoski | Hair-Raising Entertainment: Emotions, Sound, and Structure in Silent Hill 2 and Fatal Frame | In Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 181-199. | 2009 | AC | perception; emotion; Silent Hill 2; Fatal Frame; threat | ||
| Ekman | Inger | A Cognitive Approach to the Emotional Function of Game Sound | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | nonmusical sound; emotion; affect; embodied cognition; narrative | |||
| Erbe | Marcus | Mundane Sounds in Miraculous Realms: An Auditory Analysis of Fantastical Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 125-146 | 2013 | AC | fantastical games; mundane; | |||
| Erbe | Marcus | Review of Performing Bytes: Musikperformances der Computerspielkultur, by Melanie Fritsch | Journal of Sound and Music in Games 1/3, 68-70 | 2020 | AP | Melanie Fritsch; Performing Bytes; ludomusicology; theatre studies; performativity; musicking; embodiment; gameplay; music games; performances of game music | |||
| Ey | Mike | Joe Pietruch and David I. Schwartz | "Oh-No! Banjo": a case study in alternative game controllers | Futureplay '10 Proceedings of the International Academic Conference on the Future of Game Design and Technology, pp.215-218 | 2010 | AS | instrument; interface; controller; music; banjo | ||
| Eyles | Mark | Dan Pinchbeck | Playful Ambience | DiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play | 2011 | AS | ambient music; Brian Eno; gamification; Ford Fusion Hybrid | ||
| Farnell | Andy | Behaviour, Structure and Causality in Procedural Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 313-339 | 2011 | AC | Procedural audio; historical; philosophical; commercial; technological; sound synthesis; virtual world; interactivity; real-time; computation | |||
| Farnell | Andy | An introduction to procedural audio and its application in computer games. | Self Published | 2007 | EA | http://cs.au.dk/~dsound/DigitalAudio.dir/Papers/proceduralAudio.pdf | procedural audio; composition; perception; technology | ||
| Faure-Grise | Fabrice | Améliorer l’UX des jeux mobiles en réalité augmentée: recommandations pour la modélisation du son | École Normale Supérieure de Lyon (ENSL) | 2018 | DM (M) | https://drive.google.com/file/d/120hmP8eN1F_GtmISfJsILJfBHu7hm-Z3/view?usp=sharing | UX design; augmented reality; mobile games | ||
| Fay | Todd M. | Scott Selfon and Todor J. Fay | DirectX 9 Audio Exposed: Interactive Audio Development | Plano, Texas: Wordware | 2004 | BC | composition; audio design; technology; DirectMusic; middleware | ||
| Fleshner | Nathan | Pitching the Rhythm: Music Games for the iPad | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | rhythm; Groove Coaster; Tone Sphere; iPad; music theory; composition; Soundrop; music games | |||
| Foison | Fabrice | La narrativité musicale dans Final Fantasy VII | CRR de Paris | 2013 | DM (M) | Final Fantasy VII; Nobuo Uematsu; narrativity | |||
| Fournier | Nicolas | L'interaction sonore dans le jeu vidéo | Ecole nationale supérieure Louis Lumière | 2011 | DM (M) | interactive sound | |||
| Franco-Rogelio | Christophe | Le Roi est nu ! La musique au sein des jeux vidéo à monde ouvert. | Université d'Aix-Marseille | 2018 | DM (M) | https://dumas.ccsd.cnrs.fr/dumas-01820289/document | narrative environment; game design; gameplay; integration; open world; interactive music; adaptative music | ||
| Franklin | Janice | Video Game Audio: Music? | AAA-TAC: Acoustical, art and artifacts"Technology, aesthetics, communication. Vol. 1 | 2004 | AP | interviews; perception; dynamic music; reviews; journalism; | |||
| Friberg | Johnny | Dan Gärdenfors | Audio Games: New perspectives on game audio | Paper presented at the" ACE conference 2004, Singapore, June 2004 | 2004 | AS | audio games; game design; audio design; Mudsplat; X-tune; Tim's Journey; perception; | ||
| Fritsch | Melanie | Musik spielen - Computerspiele und Musik | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/01_editorial/index.html | history; Video Games Live; Civilization IV; awards; Scott Pilgrim vs. the World | ||
| Fritsch | Melanie | Worlds of Music: Strategies for Creating Music-based Experiences in Videogames | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | gameplay pattern; rhythm games; virtual world; narrative; experience; gestalt theory; Brütal Legend; Eternal Sonata; Vib-Ribbon | |||
| Fritsch | Melanie | Beat it!--Playing the "King of Pop" in Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Michael Jackson; performance studies; stardom; Michael Jackson's Moonwalker | |||
| Fritsch | Melanie | "It's a-me, Mario!": Playing with Video Game Music | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | literacy; fandom; participatory culture; Super Mario Bros.: The 8-Bit Opera | |||
| Fritsch | Melanie | History of Video Game Music | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 11-41 | 2013 | AC | ||||
| Fritsch | Melanie | Live Performance Games? - Musikalische Bewegung sehen, hören und spielen. | In Schroedter, Stephanie (ed.), "Bewegungen zwischen Hören und Sehen: Denkbewegungen über Bewegungskünste", Würzburg: Königshausen & Neumann, 2012; p. 609-624. | 2012 | AC | ||||
| Fritsch | Melanie | Stefan Strötgen | Relatively Live: How to Identify Live Music Performances | Music and the Moving Image 5/1, 2012 (March) | 2012 | AP | |||
| Fritsch | Melanie | Musik | in Benjamin Beil, Thomas Hensel, Andreas Rauscher (eds.), Game Studies (Wiesbaden: Springer VS), 87-107 | 2017 | AC | https://link.springer.com/chapter/10.1007/978-3-658-13498-3_5 | history; composition; introductoin; overview; Left 4 Dead | ||
| Fritsch | Melanie | Musik und Computerspiele, oder: Wie das »Ludo-« in die Musikologie kam | in Christoph Hust (ed.) Digitale Spiele Interdisziplinäre Perspektiven zu Diskursfeldern, Inszenierung und Musik (Bielefeld: Transcript Verlag) 385-396 | 2018 | AC | http://www.transcript-verlag.de/978-3-8376-4002-1/digitale-spiele/ | performance; overview; theory; history | ||
| Fritsch | Melanie | Performing Bytes. Musikperformances der Computerspielkultur | Würzburg: Köningshausen & Neumann | 2018 | BM | https://www.verlag-koenigshausen-neumann.de/product_info.php/info/p9039_Performing-Bytes--Musikperformances-der-Performing-Bytes--Musikperformances-der-Computerspielkultur---br--Thurnauer-Schriften-zum-Musiktheater--Band-35-.html | performance; performativity; theory; history; Japan; fan studies; GameFilk; chip music; Tetsuya Mizuguchi; Koji Kondo; Nobuo Uematsu; Super Mario Bros; Final Fantasy VI; Geemu Ongaku; ludomusicology | ||
| Furlong | Cian | Computer Game Music - A Multifunctional Medium | University College Dublin | 2004 | DM (U) | https://danielrparente.files.wordpress.com/2012/04/computer_game_music_-_a_multifunctional_medium.pdf | composition; Super Mario Bros.; film music; marketing; function | ||
| Gallacher | Susan | The Sounds of Skyrim: A Musical Journey Through Gaming | In Angela Cresswell Jones and Rebbecca Jane Bennett (eds.), The Digital Evolution of Live Music (Waltham, MA; Kidlington: Chandos), pp. 99-106 | 2015 | AC | Liveness; Skyrim | |||
| Gallagher | Rob | “All the Other Players Want to Look at My Pad”: Grime, Gaming, and Digital Identity | Game: The Italian Journal of Game Studies 6/1 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_Journal_Gallagher.pdf | Grime; identity; masculinities; sampling; gamer culture | ||
| Galloway | Kate | Soundwalking and the Aurality of Stardew Valley: An Ethnography of Listening to and Interacting with Environmental Game Audio | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 159-178 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | farming; ecology; environments; reality; fidelity; Hildegard Westerkamp; Andra McCartney; performance; immersion; soundscape; listening | ||
| Ganiti | Aikaterini | Nikolaos Politopoulos, Thrasyvoulos Tsiatsos | The Impact of Background Music on an Active Video Game | In Interactive Mobile Communication Technologies and Learning: Proceedings of the 11th IMCL Conference. Michael E. Auer, Thrasyvoulos Tsiatsos (eds.) | 2018 | AS | background music; emotions; Tennis Attack; Kinect | ||
| Garner | Tom A. | Mark Grimshaw | Sonic Virtuality: Understanding Audio in a Virtual World | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | embodied cognition; imagination; acoustic ecology; virtuality; reality | ||
| Gaudy | Thomas | Etudes et développements de jeux vidéo sonores et accessibles aux personnes aveugles | Conservatoire National des Arts et Métier | 2008 | DD | http://www.sudoc.fr/132402076 | visual impairment, sound games, grip, directives, earcones | ||
| Genvo | Sébastien | Nicole Pignier | Comprendre les fonctions ludiques du son dans les jeux vidéo: Pour la formulation d’un cadre théorique de sémiotique multimodale | Communication 28/2 | 2011 | AP | https://journals.openedition.org/communication/1845?lang=en | semiotics; film theory; intermediality | |
| Gersic | Thomas E. | Playing and the Past: Toward a New Sound for Games | In Zach Whalen and Laurie N. Taylor (eds.), Playing the Past: History and Nostalgia in Video Games, Nashville TN: Vanderbilt University Press. | 2008 | AC | sound design; Digital Audio Workstation; Resident Evil O; Hitchcock; diegetic sound effects; generative music | |||
| Ghazarian | Danielle | The Tuning of the World…of Warcraft! The Immersive Potential of Videogame Audio | Masters Dissertation, Carleton University | 2011 | DM | immersion; flow; environment; MMORPG | |||
| Gibbons | William | Wrap Your Troubles in Dreams: Popular Music, Narrative, and Dystopia in Bioshock | Game Studies 11/3 | 2011 | AP | http://gamestudies.org/1103/articles/gibbons | popular music; perception; Bioshock; narrative; licensed music; irony | ||
| Gibbons | William | Wandering Tonalities: Silence, Sound, and Morality in Shadow of the Colossus | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Shadow of the Colossus; silence; dynamic music | |||
| Gibbons | William | Remixed Metaphors: Manipulating Classical Music and its Meanings in Video Games | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | classical music; Gyruss; Fez; Boom Boom Rocket; Catherine | |||
| Gibbons | William | Blip, Bloop, Bach? Some Uses of Classical Music on the Nintendo Entertainment System | Music and the Moving Image 2/1, 40-52 | 2009 | AP | classical music; NES; composition; Battle of Olympus; Captain Comic; Pirates!; Tetris; politics; imagery; Folk Tunes; Tchaikovsky; Bach; Handel; Mozart; pre-existing music | |||
| Gibbons | William | Music, Genre, and Nationality in the Postmillenial Fantasy Role-Playing Game | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 412-427 | 2017 | AC | RPG; JRPG; Inon Zur; Elder Scrolls; Nobuo Uematsu; Koichi Sugiyama; Jeremy Soule; The Witcher; narrative; game type | |||
| Gibbons | William | Unlimited Replays: Video Games and Classical Music | Oxford: Oxford University Press | 2018 | BM | classical music; Chopin; BioShock: Infinite; Civilization IV | |||
| Gibbons | William | The Sounds in the Machine: Hirokazu Tanaka's Cybernetic Soundscape for Metroid | In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks. Liz Greene, Danijela Kulezic-Wilson (eds.). London: Palgrave Macmillan | 2016 | AC | Metroid; sound design; Forbidden Planet; art music; NES | |||
| Gibbons | William | Little harmonic labyrinths: Baroque musical style on the Nintendo Entertainment System | In James Cook, Alexander Kolassa, Adam Whittaker (eds.), Recomposing the Past: Representations of Early Music on Stage and Screen (New York: Routledge) | 2018 | AC | https://www.taylorfrancis.com/books/e/9781351975520/chapters/10.4324%2F9781315268255-9 | Nintendo Entertainment System; Dragon Warrior; baroque music; aesthetics; medievalism | ||
| Gibbons | William | Song and the Transition to “Part-Talkie” Japanese Role-Playing Games | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 9-20 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | silent film; cinema; Lunar; voice; JRPG; Grandia II; song; Noriyuki Iwadare | ||
| Gibbons | William | Rewritable Memory: Concerts, Canons, and Game Music History | Journal of Sound and Music in Games 1/1, 75-81 | 2020 | AP | canon; concert; Video Games Live; narrative; orchestra | |||
| Gibbons | William | The Problem with Players: A Response to Jonathan Godsall | Journal of Sound and Music in Games 1/1, 116-118 | 2020 | AP | William Gibbons; Jonathan Godsall; Unlimited Replays; classical music; borrowing; model reader; player experience | |||
| Gilbert | Jean-Michel | Algorithmes de génération de musique pour application dans les jeux vidéo | Université du Québec à Chicoutimi | 2008 | DM (M) | https://constellation.uqac.ca/198/1/030095617.pdf | algorithm; procedural generation; computing; mathematics | ||
| Godsall | Jonathan | Review of Unlimited Replays by William Gibbons | Journal of Sound and Music in Games 1/1, 113-115 | 2020 | AP | William Gibbons; Unlimited Replays; classical music; borrowing; player; art; film music; game music; BioShock | |||
| Goodwin | Simon | Beep to Boom: The Development of Advanced Runtime Sound Systems for Games and Extended Reality | New York: Routledge | 2019 | BM | interactive audio; VR; sound design; implementation; sound field | |||
| Granier | Emma | Influence de la musique dans le succès des jeux vidéo en France de 1990 | Université Sorbonne Nouvelle-Paris 3 | 2013 | DM (M) | http://www.sudoc.fr/182418111 | France; success; 1990's games; cultural mediation | ||
| Grasso | Julianne | Music in the Time of Video Games: Spelunking Final Fantasy IV | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 97-116 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | JRPG; time; narrative; navigation; chronology; harmony; structure; storytelling; temporality; harmonic structure; battle; turn; repetition | ||
| Grasso | Julianne | On Canons as Music and Muse | Journal of Sound and Music in Games 1/1, 82-86 | 2020 | AP | canons; concerts; remix; fandom; The Legend of Zelda | |||
| Greenfield-Casas | Stefan | Between Worlds: Musical Allegory in Final Fantasy X | The University of Texas at Austin | 2017 | DM (M) | https://www.academia.edu/33912037/Between_Worlds_Musical_Allegory_in_Final_Fantasy_X | Final Fantasy; Kingdom Hearts; Nobuo Uematsu; hyperreal; simulation; antitheism; replay value; tonality | ||
| Greenfield-Casas | Stefan | Playing with Time in the Zodiac Age | Musicology Now | 2017 | AG | http://musicologynow.ams-net.org/2017/08/playing-with-time-in-zodiac-age.html?m=1 | Hitoshi Sakimoto; Final Fantasy; Bakhtin; temporality; grinding; boss battles; chronotope | ||
| Grethe | Mitchell | Andrew Clarke | Videogame Music: Chiptunes Byte Back? | DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play | 2007 | AS | chiptune; 8-bit music; subculture | ||
| Grimshaw | Mark | Game Sound: Game Sound Technology and Player Interaction: Concepts and Developments | Hershey, Pa: Information Science Reference | 2010 | BC | See individual entries | |||
| Grimshaw | Mark | Tom A. Garner | Embodied Virtual Acoustic Ecologies of Computer Games | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | embodied cognition; emotion; affect; biofeedback; psychophysiology; acoustic ecology | ||
| Grimshaw | Mark | Sound and Player Immersion in Digital Games | In Trevor Pinch and Karin Bijsterveld (eds.), The Oxford Handbook of Sound Studies (Oxford Oxford University Press) | 2011 | AC | first-person shooter; sound; immersion; real world; virtual world | |||
| Grimshaw | Mark | Gareth Schott | A Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game Engines | International Journal of Computer Games Technology | 2008 | AP | perception; ecology; first-person shooter; audio design; affordance | ||
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter | International Journal of Intelligent Games & Simulation 5/1 | 2008 | AP | first-person shooter; audio design; immersion; procedural audio; technology | ||
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter:Mixed Measurement of the Player's Sonic Experience | Proceedings of Audio Mostly 2008 | 2008 | AS | first-person shooter; audio design; immersion; procedural audio; technology | ||
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter: The Player Experience of Sound in the First-Person Shooter Computer Game | Saarbrücken: VDM Verlag Dr. Mueller | 2008 | BM | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | |||
| Grimshaw | Mark | Gareth Schott | Situating Gaming as a Sonic Experience: The acoustic ecology of First-Person Shooters | Situated Play (2007) Proceedings of DIGRA, Digital Games Research Association, September 24-28, 2007, Tokyo, Japan | 2007 | AS | perception; ecology; first-person shooter; audio design; soundscape; affordance | ||
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter | University of Waikato | 2007 | DD | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | |||
| Grimshaw | Mark | Siu-Lan Tan, Scott D. Lipscomb | Playing with Sound: The Role of Music and Sound Effects in Gaming | In Tan, Siu-Lan, Cohen, Annabel J. Cohen, Scott D. Lipscomb, Roger A. Kendall (eds.), The Psychology of Music in Multimedia | 2013 | AC | psychology; sound design; cognitive load; review; technology | ||
| Grosser | Michelle | Avatar/Player Subjectivity: An Agential Analysis of Crypt of the NecroDancer | Journal of Sound and Music in Games 1/3, 1-14 | 2020 | AP | immersion; virtual; agency; cognition; perception | |||
| Guerraz | Agnes | Jacques Lemordant | Indeterminate adaptive digital audio for games on mobiles | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 55-72 | 2008 | AC | mobiles; portable; API; audio formats; AMML; interactive; 3D audio; iXMF; programmatic control | ||
| Hambleton | Elizabeth | Gray Areas: Analyzing Navigable Narratives in the Not-So-Uncanny Valley Between Soundwalks, Video Games, and Literary Computer Games | Journal of Sound and Music in Games 1/1, 20-43 | 2020 | AP | interactive; soundwalk; soundscape; walking simulator; narrative; ludostylistics; soundscape | |||
| Hart | Iain | Meaningful Play: Performativity, Interactivity and Semiotics in Video Game Music | Musicology Australia, 36/2, pp. 273-290 | 2014 | AP | http://dx.doi.org/10.1080/08145857.2014.958272 | ludomusicology; performativity; interactivity; semiology; semiotics; music; expression; text; gameplay | ||
| Hart | Iain | Hard Boiled Music: The Case of L.A. Noire | Screen Sound, n5 | 2015 | AP | http://www.screensoundjournal.org/issues/n5/06.%20SSJ%20n5%20Hart.pdf | film noir; neo-noir; period noir; hard-boiled detective fiction; jazz; jeu noir | ||
| Harvey | Trevor S. | Virtual Worlds: An Ethnomusicological Perspective | In Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press) | 2014 | AC | virtual worlds; Second Life; musical personas; identity; avatars; ethnography | |||
| Havryliv | Mark | Emiliano Vergara-Richards | From Battle Metris to Symbiotic Symphony: A New Model for Musical Games | University of Wollongong Research Online | 2006 | AS | http://ro.uow.edu.au/cgi/viewcontent.cgi?article=1027&context=creartspapers | music games; Battle Metris; gamification; John Cage; Iannis Xenakis; game design; | |
| Hébert | Sylvie | Renée Béland, Odrée Dionne-Fournelle, Martine Crête, Sonia J. Lupien | Physiological Stress Response to Video-Game Playing: The Contribution of Built-in Music | Life Sciences 76/20, pp. 2371-80 | 2005 | AP | psychology; Quake III Arena; stress; experiment | ||
| Herber | Norbert | The composition-instrument: emergence, improvisation and interaction in games and new media | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 103-123 | 2008 | AC | Spore; Brian Eno; sound garden; interaction; art music; electroplankton; minimalism | |||
| Hermans | Phillip | Cooperation and Competition in Music Composition | Dartmouth College | 2013 | DM (M) | http://gradworks.umi.com/15/64/1564117.html | music composition; games; consensus protocol; agent-based modeling; music education | ||
| Herz | J. C. | Joystick Nation: How Videogames Gobbled Our Money, Won Our Hearts and Rewired Our Minds | London: Abacus | 1997 | BM | History; sound effects; technology development (causal); regional differences of composition; early composition styles | |||
| Herzfeld | Gregor | Atmospheres at Play: Aesthetical Considerations of Game Music | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Hoffert | Paul | Music for New Media: Composing for Videogames, Web Sites, Presentations, and other Interactive Media | Boston, MA: Berklee Press | 2007 | BM | Composition; technology; middleware; | |||
| Holtar | Nils Iver | Mark J. Nelson, and Julian Togelius | Audioverdrive: Exploring bidirectional communication between music and gameplay | Proceedings of the 2013 International Computer Music Conference | 2013 | AS | Composition; bidirectional ; interactive; dynamic music | ||
| Höltgen | Stefan | Play that Pokey Music: Computer Archeological Gaming with Vintage Sound Chips | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0068-5 | sound chip; archaeology; retrocomputing; history | ||
| Hooper | Giles | Sounding the Story: Music in Videogame Cutscenes | In Duncan Williams and Newton Lee (ed.), Emotion in Video Game Soundtracking (Cham: Springer) 115–141 | 2018 | AC | cutscenes; interactivity; emotion; film; play; cut-scenes; cinematics | |||
| Hoover | Tom | Keeping Score: Interviews with Today's Top Film, Television and Game Music Composers | Boston: Course Technology | 2010 | BM | Composition; interviews; Marty O'Donnell; Winifred Phillips; Inon Zur; Cris Velasco; Jesper Kyd; Jason Graves | |||
| Hopkins | Christopher | Mario Paint: An Accessible Environment of Musical Creativity and Sound Exploration | Journal of Literature and Art Studies, October 2015, Vol. 5, No. 10, 847-858 | 2015 | AP | http://www.davidpublisher.org/Public/uploads/Contribute/56286de56af46.pdf | music composition; Super NES; SNES; Nintendo; music theory; music production; sound chip | ||
| Hopkins | Christopher | Chiptune Music: An Exploration Of Compositional Techniques As Found In Sunsoft Games For The Nintendo Entertainment System And Famicom From 1988-1992 | Doctoral Thesis Five Towns College | 2015 | DD | https://www.academia.edu/15400351/Chiptune_music_An_exploration_of_compositional_techniques_as_found_in_Sunsoft_games_for_the_Nintendo_Entertainment_System_and_Famicom_from_1988-1992 | Sunsoft; Chiptune; Nintendo; NES; compositional techniques | ||
| Hug | Daniel | New Wine in New Skins: Sketching the Future of Game Sound Design | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 384-415 | 2011 | AC | Technology; development; Hollywood; naturalism; reality; liberation; soundtrack; aesthetics | |||
| Hugill | Andrew | Panos Amelides | Audio-only computer games: 'Papa Sangre' | Emmerson, S and Landy, L, eds. Expanding the horizon of electroacoustic music analysis. Cambridge University Press, Cambridge, pp. 355-375. | 2016 | AC | electroacoustic music; audio games; Papa Sangre | ||
| Hulme | Zander | Killing-off the Crossfade: Achieving Seamless Transitions With Imbricate Audio | Game: The Italian Journal of Game Studies 6/2 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_CriticalNotes_Hulme.pdf | Adaptive Audio; Composing; Game Music; Immersion; Recorded Music; Pre-rendered Audio; Music Systems | ||
| Ivanescu | Andra | Torched song: The hyperreal and the music of L.A. Noire | The Soundtrack 8/1-2 | 2015 | AP | semiotics; hyperreal; narrative; preexisting music; L.A. Noire; popular music | |||
| Ivanescu | Andra | Popular Music in the Nostalgia Video Game: The Way it Never Sounded | Cham: Palgrave Macmillan | 2019 | BM | https://www.palgrave.com/gp/book/9783030042806 | nostalgia; popular music; Bioshock; Fallout; Gone Home; Evoland; remediation; film; semiotics; anachronism | ||
| Ivanescu | Andra | The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite | Networking Knowledge: Journal of the MeCCSA Postgraduate Network 7/2 | 2014 | AP | http://www.ojs.meccsa.org.uk/index.php/netknow/article/view/337/168 | intertextuality; time travel; nostalgia; covers; anachronism; world building | ||
| Ivănescu | Andra | Beneath a Steel Sky: A Musical Characterisation of Class Structure | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0067-6 | Beneath a Steel Sky; semiotics; social class; environmental storytelling | ||
| Ivănescu | Andra | A Response to Jennifer Smith | Journal of Sound and Music in Games 1/2, 88 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/88/106832/A-Response-to-Jennifer-Smith | Andra Ivănescu; Jennifer Smith; nostalgia; retro | ||
| Jacobus | Enoch | Choose Your Own Audio-venture: Soundtrack Choices in Beat Hazard Ultra (2011) | Musicology Research Journal 3 | 2017 | AP | https://www.musicologyresearch.co.uk/publications/enochjacobus-chooseyourownaudioventuresoundtrack | mobile; agency; interactive audio; adaptive audio; co-operative audio; ludus; paidia; paidoludic; engagement; immersion; virtual environment | ||
| Jacobus | Enoch | Choose your Own Audio-venture: Soundtrack Choices in Beat Hazard Ultra (2011) | Musicology Research 3 | 2017 | AP | https://www.musicologyresearch.co.uk/publications/enochjacobus-chooseyourownaudioventuresoundtrack | music game; presence; affect; play; ludus; paidia | ||
| Javet | David | La figure du Seiyû: voix et corps dans le paysage médiatique japonais | In Alain Boillat, Irene Weber Henking (eds.) DUBBING. Die Übersetzung im Kino / La traduction audiovisuelle (Marburg: Schüren) 201-222 | 2014 | AC | https://t.co/v3DB0W79ni | voice acting; seiyu; Japan; embodiment | ||
| Jenson | Jennifer | Suzanne de Castell, Nicholas Taylor, Milena Droumeva, Stephanie Fisher | The Gigue is Up: High Culture Gets Game | DiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory | 2009 | AS | Tafelkids: The Quest for Arundo Donax; Baroque music; music education | ||
| Jenson | Jennifer | Suzanne de Castell, Nicholas Taylor, Milena Droumeva | Baroque Baroque revolution: high culture gets game | Future Play '08 Proceedings of the 2008 Conference on Future Play: Research, Play, Share, pp.105-112 | 2008 | AS | teaching; history; children; flash; history; orchestra | ||
| Jolly | Kent | Usage of Pd in Spore and Darkspore | PureData Convention | 2011 | AS | https://www.uni-weimar.de/kunst-und-gestaltung/wiki/images/Usage_of_Pd_in_Spore_and_Darkspore.pdf | Spore; Procedural Music; Pure Data; EA; generative music | ||
| Jørgensen | Kristine | "What are these Grunts and Growls over there?" Computer Game Audio and Player Action | Copenhagen University | 2007 | DD | film music; ecology; perception; interviews; diegesis; transdiegesis | |||
| Jørgensen | Kristine | Audio and Gameplay: An Analysis of PvP Battlegrounds in World of Warcraft | Game Studies 8/2 | 2008 | AP | World of Warcraft; earcons; transdiegesis; ecology; function | |||
| Jørgensen | Kristine | Left in the dark: playing computer games with the sound turned off | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 163-176 | 2008 | AC | sound; information; Warcraft III; psychology; sound off; information; Hitman Contracts; stealth; strategy; player responses; empirical; information; orientation; space; virtual world | |||
| Jørgensen | Kristine | Time for New Terminology? Diegetic and Non-Diegetic Sounds in Computer Games Revisited | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 78-97 | 2011 | AC | Diegesis; non-diegetic; diegetic; fictionality; terminology; spatial; space; gameworlds | |||
| Jørgensen | Kristine | On the Functional Aspects of Computer Game Audio | In Proceedings of the Audio Mostly Conference. Interactive Institute, Piteå, Sweden | 2006 | AS | space; transdiegesis; function; earcons; | |||
| Jørgensen | Kristine | A Comprehensive Study of Sound in Computer Games: How Audio Affects Player Action | Lewiston, NY: Mellen | 2009 | BM | perception; Warcraft III; Hitman Contracts; history; film music; diegesis; earcons; semiotics; transdiegesis; | |||
| Jørgensen | Kristine | On Transdiegetic Sounds in Computer Games | Northern Lights Vol. 5: Digital Aesthetics and Communication | 2007 | AP | transdiegesis; diegesis; extradiegesis; meta-communication; film music | |||
| Jørgensen | Kristine | Sounds and Sources in Sacred | Proceedings from Cosign 2004. Split, Croatia | 2004 | AS | function; semiotics; Fencott; Sacred; Chion; perception | |||
| Jørgensen | Kristine | Emphatic and Ecological Sounds in Gameworld Interfaces | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 72-84 | 2017 | AC | ecology; interactivity; diegesis; worlds; icons; earcons; sounds; dynamic | |||
| Kaae | Jesper | Theoretical approaches to composing dynamic music for video games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 75-92 | 2008 | AC | dynamic music; changes; mixing; segue; linearity; adaptive music; multi-linearity; time | |||
| Kamp | Michiel | Suture and Peritexts: Music Beyond Gameplay and Diegesis | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | paratext; peritext; suture; semiotics; Super Mario Bros.; Braid; Super Meat Boy; Max Payne; Battlefield 1942 | |||
| Kamp | Michiel | Musical Ecologies in Video Games | Philosophy & Technology 27/2, 235-49 | 2014 | AP | perception; James Gibson; ecological psychology; affordances; diegesis | |||
| Kamp | Michiel | Four Ways of Hearing Video Game Music | University of Cambridge | 2014 | DD | phenomenology; listening; ludic music; background music; ecological psychology; aesthetics | |||
| Kamp | Michiel | Ludic music in video games | Utrecht University | 2009 | DM (M) | http://dspace.library.uu.nl/bitstream/handle/1874/179576/Kamp,%20Michiel%20-%20MA%20Thesis.pdf?sequence=1 | ludic music; Juul; narrative; function; puzzles; music games; Caillois; fiction; rules | ||
| Kamp | Michiel | Ludomusical Dissonance in Diablo III | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 131-145 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | RPG; ludo-narrative dissonance; Diablo III; semiotics; genre | ||
| Kamp | Michiel | Mark Sweeney | Musical Landscapes in Skyrim | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 179-196 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | RPG; Elder Scrolls; Skyrim; aesthetics; nature; klangflache; ambient music; soundscape | |
| Kanamori | Shinya | Ryo Yoneda, Masashi Yamada | Congruency Between Music and Motion Pictures in the Context of Video Games: Effects of Emotional Features in Music | Proceedings of the 12th International Conference on Music Perception and Cognition of the European Society for the Cognitive Sciences of Music, July 23-28, 2012, Thessaloniki, Greece | 2012 | AS | http://icmpc-escom2012.web.auth.gr/files/papers/505_Proc.pdf | psychology; congruency; experiment; pleasantness; excitation; semantic differential scales | |
| Kaneda | Miki | Rhythm Heaven: Video Games, Idols, and Other Experiences of Play | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | rhythm game; Rhythm Heaven; Game Boy Advance; racialized ideology; Japanese bodies; moving onscreen objects | |||
| Kärjä | Antti-Ville | Marketing music through computer games: the case of Poets of the Fall and Max Payne 2 | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 27-44 | 2008 | AC | marketing; copyright; production; licensed music; authenticity; global; local; Max Payne 2; Poets of the Fall | |||
| Kassabian | Anahid | Ubiquitous listening | In David Hesmondhalgh and Keith Negus (eds), Popular Music Studies (London: Arnold), 131-142. | 2002 | AC | music technological cultures; modes of listening; subjectivity; technology | |||
| Kassabian | Anahid | The End of Diegesis As We Know It? | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | diegetic; nondiegetic; web sites; apps; new media | |||
| Kassabian | Anahid | Freya Jarman | Game and Play in Music Video Games | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | music games; rhythm games; Caillois; mobile phones; Tap Tap Revenge; ludology | ||
| Kassabian | Anahid | Roger Moseley et al. | Roundtable: Current Perspectives on Music, Sound, and Narrative in Screen Media | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 108-124 | 2017 | AC | narrative; film music; interfaces; VR; ludic challenge | ||
| Kayali | Fares | Gestural Interaction in Music Video Games | Digital Games: Theory and Design: conference at Brunel University, London, Great Britain, 09/14/07 | 2008 | AS | http://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2007/9/14_Gestural_Interaction_in_Music_Video_Games_files/KayaliGesturalInteraction.pdf | music games; Guitar Hero; Electroplankton; perception; tangible interfaces | ||
| Kayali | Fares | Martin Pichlmair, Petr Kotik | Mobile Tangible Interfaces as Gestural Instruments | 5th International Music Workshop 2008, Vienna, Austria, 05/13/08-05/16/08 | 2008 | AS | https://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2008/2/20_Mobile_Tangible_Interfaces_as_Gestural_Instruments_files/GesturalInstruments.pdf | tangible interfaces; perception; music games; game design; | |
| Kayali | Fares | Vera Schwarz; Gerit Götzenbrucker; Jürgen Pfeiffer; Barbara Franz; Peter Purgathofer | Serious Beats: Transdisciplinary research methodologies for designing and evaluating a socially integrative serious music-based online game | DiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play | 2011 | AS | music games; design; social integration; migrants | ||
| Kayali | Fares | Playing Music: Design, Theory, and Practice of Music-based Games | Vienna University of Technology | 2008 | DD | music games; game design; interviews; Otocky; Parappa the Rapper; Sim Tunes; Vib Ribbon; FreQuency; Rez; Guitar Hero; Electroplankton; Elite Beat Agents; Nintendo DS; interface; kinaesthesia; | |||
| Keesing | Aaron | Matthew Ooi, Ocean Wu, Xinghao Ye, Lindsay Shaw, Burkhard C. Wünsche | HIIT With Hits: Using Music and Gameplay to Induce HIIT in Exergames | ACSW 2019 Proceedings of the Australasian Computer Science Week Multiconference | 2019 | AS | https://dl.acm.org/citation.cfm?id=3290740 | exercise; sports; HIIT; virtual reality; health; exergame; psychology | |
| Kerins | Mark | Multichannel Gaming and the Aesthetics of Interactive Surround | In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press) | 2013 | AC | surround sound; multichannel sound; interactivity; immersion; genre; platform games; third-person; first-person; rhythm games | |||
| Kirchberg | Irina | De la manette à la baguette. Les publics des concerts symphoniques de musique de jeu vidéo | In Stéphane Dorin (ed.), Déchiffrer les publics de la musique classique. Perspectives comparatives, historiques et sociologiques, Paris: Archives contemporaines, 309-324 | 2018 | AC | games in concert; audiences; orchestras | |||
| Kirchberg | Irina | Ethnographier l’écoute à l’ère du numérique. D’une étude sur les amateurs de musique de jeux-vidéo à l’analyse des ‟carrières d’auditeurs” | Philippe Le Guern (ed.), En quête de musique: questions de méthode à l'ère de la numérimorphose (Paris: Hermann) | 2017 | AC | ||||
| Kirke | Alexis | When the Soundtrack is the Game: From Audio-Games to Gaming the Music | In Duncan Williams and Newton Lee (ed.), Emotion in Video Game Soundtracking (Cham: Springer), 65-83 | 2018 | AC | Minecraft; audio games; music games; audiogames; musicality | |||
| Kizzire | Jessica | "The Place I'll Return to Someday": Musical Nostalgia in Final Fantasy IX | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Final Fantasy; nostalgia; 8-bit; analysis; Baroque music; Renaissance music | |||
| Knight | Tim | Mastering Sound and Music on the Atari ST | Berkeley, CA: Sybex | 1987 | BM | Atari ST; sound design; composition; 8-bit; technology; | |||
| Knoblauch | William | SIMON: The Prelude to Modern Music Video Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | SIMON; hand-held; Hasbro; history; arcade games | |||
| Kohler | Chris | Power-Up: How Japanese Video Games Gave the World an Extra Life | Indianapolis: Bradygames | 2005 | BM | history; Japan; interviews; final fantasy; cinematic aesthetic | |||
| Krishnaswami | Ravi | Playing Songwriter: Creating Songs for the Fictional Worlds of Video Games | Journal of Sound and Music in Games 1/2, 68-83 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/68/106830/Playing-SongwriterCreating-Songs-for-the-Fictional | ludomusicology; auto-ethnography; game studies; diegetic music | ||
| Kudisch | Erica | Selected annotated bibliography | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 189-194 | 2008 | AC | Academic; scholarship; bibliography; publications; resources; articles; books | |||
| Lafont | Augustin | Le son dans les jeux vidéo: du niveau du jeu ou niveau du joueur | Université Paris-Est Marne-La-Vallée | 2018 | DM (M) | sound; level-design | |||
| Lamb | Brendan | Barnabas Smith | From Skyrim to Skellige: Fantasy Video Game Music Within a Neo-Mediaevalist Paradigm | Musicology Australia 40/2 | 2019 | AP | fantasy; environment; gameworld; folk; medieval; history; RPG; Witcher; Skyrim; Elder Scrolls | ||
| Langhorst | Tom | The Unanswered Question of Musical Meaning: A Cross-domain Approach | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | music cognition; musical meaning; sound design; interaction design; tonality; arcade games; user interface | |||
| Langhorst | Tom | The Sound of a Serve Toss: An Informational View on the Gameworld Interface as Sonic Interface Design | Game: The Italian Journal of Game Studies 6/2 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_CriticalNotes_Langhorst.pdf | Game Sound Design; Sonic Interface Design; Informational Spaces; Music Cognition; Semiotics; Persuasive Design | ||
| Lanham | Micheal | Game Audio Development with Unity 5.X | Birmingham: Pakt Publishing | 2017 | BM | adaptive; middleware; implementation | |||
| Lansley | Alastair | Peter Vamplew, Cameron Foale, Philip Smith | SoniFight: Software to Provide Additional Sonification Cues to Video Games for Visually Impaired Players | The Computer Games Journal 7/2, 115-130 | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0059-6 | sonification; sonify; audio cues; visual impairment; accessibility; blind; audio game | |
| Laroche | Guillaume | Analyzing Musical Mario-media: Variations in the Music of Super Mario Video Games | McGill University | 2012 | DM (M) | digitool.library.mcgill.ca/thesisfile107638.pdf | Super Mario Bros.; Super Mario World; Super Mario 64; Super Mario Sunshine; analysis; themes | ||
| Lavengood | Megan | Timbre, Genre, and Polystylism in Sonic the Hedgehog 3 | In Nick Braae and Kai Arne Hansen (eds.), On Popular Music and its Unruly Entanglements (London: Palgrave-Macmillan), 209-234 | 2019 | AC | Sonic the Hedgehog 3; popular music; genre; semiotics; timbre; intertextuality | |||
| Le Prado | Cécile | Ecritures sonores: entre déterminisme, émergence et interactivité | Conservatoire National des Arts et Métier | 2013 | DD | http://www.sudoc.fr/181846756 | interaction, acoustic setup, emergence | ||
| Lefford | Nyssim | The Generative Process, Music Composition and Games | Leonardo 40(2) 129-35 | 2007 | AP | generative games; music games; composition; game design | |||
| Lehman | Frank | Methods and Challenges of Analyzing Screen Media | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 497-516 | 2017 | AC | analyzing; approaches; modularity; film music; Portal; theory; Neo-Riemannian; Schenker; Portal 2; Michael Morasky | |||
| Lendino | James | Scoring for the Modern Computer Game | Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association | 1998 | AS | composition; dynamic music; technology; middleware; aesthetics; | |||
| Lerner | Neil | The Origins of Musical Style In Video Games, 1977–1983 | In David Neumeyer (ed.), The Oxford Handbook of Film Music Studies (Oxford: Oxford University Press) | 2013 | AC | silent film; wall-to-wall music; history; musical score; film music; Space Invaders; Donkey Kong; screen action | |||
| Lerner | Neil | Mario’s Dynamic Leaps: Musical Innovations and the Specter of Early Cinema in Donkey Kong and Super Mario Bros | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Donkey Kong; Super Mario Bros.; silent film; early cinema; history; mickey-mousing | |||
| Lesser | Andrew | Video Game Technology and Learning in the Music Classroom | Doctoral Thesis Columbia University | 2019 | DD | https://academiccommons.columbia.edu/doi/10.7916/d8-bn7a-y514/download | education; school; teaching; theory; learning | ||
| Lesser | Andrew J. | An Investigation of Digital Game-Based Learning Software in the Elementary General Music Classroom | Journal of Sound and Music in Games 1/2, 1-24 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/1/106829/An-Investigation-of-Digital-Game-Based-Learning | digital games; music education; software; technology; video games | ||
| Levy | Laura | The Effects of Background Music on Video Game Play Performance, Behavior and Experience in Extraverts and Introverts | Georgia Institute of Technology | 2015 | DM (M) | https://smartech.gatech.edu/bitstream/handle/1853/54462/LEVY-THESIS-2015.pdf | cognitive performance; flow; behavior; big five; introvert; extravert; background music | ||
| Liberman | David | Game Enhanced Music Manuscript | In Stephen Spencer (ed.), Proceedings of the 4th International Conference on Computer Graphics and Interactive Techniques in Australasia and South East Asia (GRAPHITE 2006) (Melbourne: ACM Press), 245-250 | 2006 | AS | game-scores; concerts; performance; composition; art; non-linearity | |||
| Liebe | Michael | Interactivity and Music in Computer Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Liljedahl | Mats | Sound for Fantasy and Freedom | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 22-43 | 2011 | AC | Physical environment; voices; senses; immersion; GameFlow; Interactive Institute; Sonic Studio; perception; stimuli; game mechanics | |||
| Lind | Stephanie | Active Interfaces and Thematic Events in The Legend of Zelda: Ocarina of Time | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Zelda; Nintendo; diegetic; leitmotif; virtual instrument; immersion | |||
| Linda | O'Keeffe | Sound is Not a Simulation: Methodologies for Examining the Experience of Soundscapes | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 44-59 | 2011 | AC | Soundscape; immersion; virtual; navigation; urban spaces; noise; space; design | |||
| Lipscomb | Scott D. | Sean M. Zehnder | Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Gaming Experience | Journal of Physiological Anthropology and Applied Human Sciences 23/6, 337-343 | 2004 | AP | immersion; film music; cognition; perception; virtual environment | ||
| Little | Kyle | Musicianship and Gaming: Investigating Adolsecents' Experiences | Masters Dissertation, University of Wollongong | 2013 | DM | Guitar Hero; Rock Band; school; syllabus; cultural capital; education | |||
| Lomeland | Jon Inge | How Can Interactive Music be Used in Virtual Worlds Like World of Warcraft? | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | interactive music; MMORPG; World of Warcraft; listener fatigue; composition techniques; nostalgia | |||
| López Ibáñez | Manuel | Nahum Álvarez, Frederico Peinado | Towards and Emotion-Driven Adaptive System for Video Game Music | International Conference on Advances in Computer Entertainment | 2017 | AS | dynamic music; affective computing; procedural music; interactive storytelling | ||
| Machin | David | Theo van Leeuwen | Sound, music and gender in mobile games | Gender and Language 10/3 | 2016 | AP | https://journals.equinoxpub.com/GL/article/viewArticle/32039 | Semiotics; value; positioning; Genie Palace Divine; Dragon Island Race | |
| Maenhout | John | Sonic Representations of Categorical Difference in Diegetic Video Game Music | MA Dissertation, The University of North Carolina at Chapel Hill | 2018 | DM | Communication and the arts; Education; Fire Emblem; Gender; Music pedagogy; Race; Sexuality; Video games | |||
| Marks | Aaron | The Complete Guide to Game Audio for Composers, Musicians, Sound Designers, and Game Developers 2nd Ed | Burlington, MA and Oxford: Focal Press | 2009 | BM | composition; sound design; how-to | |||
| Marks | Aaron | Jeannie Novak | Game Development Essentials: Game Audio Development | New York: Delmar | 2009 | BM | composition; sound design; how-to | ||
| Marshall | Wayne | Social Dance in the Age of (Anti-)Social Media: Fortnite, Online Video, and the Jook at a Virtual Crossroads | Journal of Popular Music Studies 31/4, 3-15 | 2019 | AP | https://jpms-ucpress-edu/content/31/4/3 | Fortnite; dance; social media; youth culture; patriarchy | ||
| Martello | Anthony | 8-Bit Heroes: A Look into the Development and Presence of Early Video Game Music in Popular Culture | Wesleyan University | 2010 | DM (U) | http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1393&context=etd_hon_theses | 8-bit; popular music; Super Mario Bros. | ||
| McAlpine | Kenneth | The sound of 1-bit: Technical constraint as a driver for musical creativity on the Sinclair ZX Spectrum | GAME 6: Hear the Music, Play the Game. Music and Game Design: Interplays and Perspectives | 2016 | AP | ||||
| McAlpine | Kenneth | All Aboard the Impulse Train: An Analysis of the Two Channel Music Routine in Manic Miner | The Computer Games Journal 4/3 | 2015 | AP | 1-bit music; ZX spectrum; chiptune; binary impulse train analysis | |||
| McAlpine | Kenneth | Shake and Create Reappropriating Video Game Technologies for the Enactive Learning of Music | In Serious Games and Edutainment Applications, Volume II. Minhua Ma, Andreas Oikonomou (eds.). Cham: Springer | 2017 | AC | enactive learning; gestural control; hacking; music education; KIDI; MIDI interfaces | |||
| McAlpine | Kenneth | Bits and Pieces: A History of Chiptunes | New York: Oxford University Press | 2018 | BM | chiptune; NES; Game Boy; Rob Hubbard; Nintendo; Atari; Commodore; 8-bit | |||
| McAlpine | Kenneth | A Response to Peter Smucker | Journal of Sound and Music in Games 1/1, 124 | 2020 | AP | Nintendo; Peter Smucker; Kenneth McAlpine; Sega | |||
| McKittrick | Megan | Scott Pilgrim vs. The Veteran Gamer: The Canonization and Commodification of Nostalgia in Anamanaguchi’s 8-bit Video Game Soundtrack | Reconstruction: Studies in Contemporary Culture 14, no. 1 | 2014 | AP | http://reconstruction.eserver.org/Issues/141/McKittrick.shtml | Scott Pilgrim vs. The World; Anamanaguchi; chiptune; 8-bit; postmodernism; nostalgia aesthetic | ||
| McSweeney | Anthony | Rob Hubbard's Music: Disassembled, Commented and Explained | C=Hacking | 1993 | AP | http://ffd2.com/fridge/chacking/c=hacking5.txt | Rob Hubbard; sound chip; hacking; Commodore 64 | ||
| Medina-Gray | Elizabeth | Meaningful Modular Combinations: Simultaneous Harp and Environmental Music in Two Legend of Zelda Games | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | transitions; analysis; The Legend of Zelda; instruments; smoothness | |||
| Medina-Gray | Elizabeth | Modularity in Video Game Music | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; avant-garde; indeterminacy; John Cage; Pierre Boulez | |||
| Medina-Gray | Elizabeth | Modular Structure and Function in Early 21st-Century Video Game Music | Yale University | 2014 | DD | modularity; structure; transitions; loops; Flower; earcons; indeterminate music; smoothness | |||
| Medina-Gray | Elizabeth | Musical Dreams and Nightmares: An Analysis of Flower | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 562-576 | 2017 | AC | Modularity; interactivity; smoothness; disjunction; analysis; theory; generative; procedural; Vincent Diamante | |||
| Medina-Gray | Elizabeth | Analyzing Modular Smoothness in Video Game Music | Music Theory Online 25/3 | 2019 | AP | https://www.mtosmt.org/issues/mto.19.25.3/mto.19.25.3.medina.gray.html | modular music; smoothness; probability; The Legend of Zelda: The Wind Waker; Portal 2; modularity; dynamic music | ||
| Melendez | Elisa | For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith | Doctoral Dissertation, Florida International University | 2018 | DD | feminism; gender; ethnography; autoethnography; inclusivity; sexuality | |||
| Meneguette | Lucas Correia | A afinação do mundo virtual: identidade sonora em jogos digitais | University of São Paolo | 2016 | DD | audio; world building; sound palette; ludofunctional characterization; acoustic ecology | |||
| Mera | Miguel | Invention/Re-invention | Music, Sound and the Moving Image 3/1, 1-20 | 2009 | AP | intertextuality; film; cross-mediality; film music; Tomb Raider; Second Life | |||
| Mera | Miguel | An Interview with James Hannigan | Music, Sound and the Moving Image 3/1, 99-115 | 2009 | AP | composer interview; film music; Harry Potter; leitmotif; dynamic music; composition; technology; | |||
| Mercer | Andrew | Game Play to Music Play - Video Games in the Music Room | The Canadian Music Educator; Edmonton Vol. 50, Iss. 3, 45. | 2009 | AP | classroom; education | |||
| Meyer | Charles | Du mutisme au dialogue, les interactions vocales dans les jeux vidéo | Ecole nationale supérieure Louis Lumière | 2015 | DM (M) | http://www.omnsh.org/sites/default/files/du_mutisme_au_dialogue_-_charles_meyer_-_2015.pdf | gameplay; vocal writing; vocal recognition; spectral analysis; narration; immersion | ||
| Miller | Kiri | Jacking the Dial: Radio, Race, and Place in "Grand Theft Auto" | Ethnomusicology 51/3, 402-438 | 2007 | AP | Grand Theft Auto; culture; radio; licensed music; ethnography; place; hip-hop; rap; avatar; player choice; survey; empirical | |||
| Miller | Kiri | The Accidental Carjack: Ethnography, Gameworld Tourism, and Grand Theft Auto | Game Studies 8/1 | 2008 | AP | Grand Theft Auto; culture; radio; licensed music; ethnography; place; time; history; hip-hop; rap; avatar; player choice; survey; empirical | |||
| Miller | Kiri | Virtual and Visceral Experience in Music-Oriented Video Games | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | Guitar Hero; Rock Band; DJ Hero; performance; immersion; game; instrument; guitar; DJ; virtual; ethnomusicology | |||
| Miller | Kiri | Multisensory Musicality in Dance Central | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | rhythm game; Dance Central; dance; multisensory; interactivity; participatory culture; interface; ethnomusicology; sound studies | |||
| Miller | Kiri | Grove Street Grimm: Grand Theft Auto and Digital Folklore | Journal of American Folklore 121/481, 255-285 | 2008 | AP | ethnography; Grand Theft Auto; performance practice; licensed music; hip-hop; empirical; folklore; | |||
| Miller | Kiri | Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity | Journal of the Society for American Music 3/4, 395-429 | 2009 | AP | survey; response; Guitar Hero; performance; music games; authenticity; realism; | |||
| Miller | Ben | Music Learning through Video Games and Apps: Guitar Hero, Rock Band, Amplitude, Frequency, and Rocksmith, and Bandfuse , and Bit.Trip Complete, and Audiosurf, and Beat Hazard, and Biophilia (review) | American Music 31/4, 511-514 | 2013 | AP | education; teaching; theory; apps; composition | |||
| Miller | Kiri | Playing along: Digital games, YouTube, and virtual performance | New York: Oxford University Press | 2012 | BM | Grand Theft Auto; music games; performance; Guitar Hero; ethnomusicology | |||
| Mitchell | Helen | Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | mixing; interactive; dynamic; sound effects; Foley; real-time integration | |||
| Mitchell | Helen | Plug-In to Fear: Game Biosensors and Negative Physiological Responses to Music | Music and the Moving Image 8/1 | 2015 | AP | biosensors; horror; EEG; brain computer interfaces | |||
| Mitchell | Helen R. | Fear and the musical avant-garde in games: interviews with Jason Graves, Garry Schyman, Paul Gorman and Michael Kamper | Horror Studies 5/1, 127-144 | 2014 | AP | cinema; film; horror; gore; psychological effects; boredom; fear; emotions | |||
| Morin-Simard | Andréane | L'interférence musicale au cinéma, à la télévision et dans le jeu vidéo | Université de montréal | 2014 | DM (M) | https://papyrus.bib.umontreal.ca/xmlui/bitstream/handle/1866/11628/Morin-Simard_Andreane_2014_memoire.pdf?sequence=4 | intertextuality; interference; popular song; cinema; television | ||
| Morin-Simard | Andréane | Gamers (Don't) Fear the Reaper: Musical Intertextuality and Interference in Video Games | Contemporary Research on Intertextuality in Video Games, ed. Christophe Duret and Christian-Marie Pons (IGI Global), 71-91 | 2016 | AC | songs; Blue Öyster Cult; Ripper; Prey; Roadkill; pop music; rock; recontextualization | |||
| Morisset | Antoine | Ludomusicologie: Origines et Méthodes | Université de Poitiers | 2018 | DM (M) | methodology; history of ludomusicology | |||
| Morris | Jeremy | App Music | In Sheila Whiteley and Shara Rambarran (eds.), The Oxford Handbook of Music and Virtuality (Oxford: Oxford University Press) | 2016 | AC | apps; Biophilia; Bjork; Lady Gaga; commodity; enhanced CDs; interactivity; CD-ROMs; cultural goods | |||
| Moseley | Roger | Aya Saiki | Nintendo's Art of Musical Play | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Nintendo; Wii Music; Game & Watch; music games; instruments; interfaces | ||
| Moseley | Roger | Playing games with music, and vice versa: performance and recreation in Guitar Hero and Rock Band | In Nicholas Cook and Richard Pettengill (eds.), Taking It to the Bridge: Music as Performance. Ann Arbor: University of Michigan Press | 2011 | AC | Guitar Hero; Rock Band; music games; performance; Caillois; ludus; paidia; virtuosity | |||
| Moseley | Roger | Keys to Play: Music as a Ludic Medium from Apollo to Nintendo | Berkeley: University of California Press | 2016 | BM | https://www.luminosoa.org/site/books/10.1525/luminos.16/ | keyboard; play; interfaces; ludus; paidia; interactivity; musicology; history; Nintendo; musicology; myth; piano; Mario | ||
| Mouraviev | Ivan | The Synchretic Network: Linking Music, Narrative, and Emotion in the Video Game Journey | Nota Bene 10/1, 64-80 | 2017 | AP | https://ojs.lib.uwo.ca/index.php/notabene/article/view/6613 | digital art; Michel Chion; Jochen Kleres; Dominic Lopes; synchresis; narrative; emotion; | ||
| Mullan | Eoin | Physical Modelling for Sound Synthesis | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 340-360 | 2011 | AC | Synthesis; technology; realism; procedural audio; physical modelling; run time; intuitive; virtual world; interaction; environments; perception; physics | |||
| Munday | Rod | Music in Video Games | In Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 51-67 | 2007 | AC | immersion; diegesis; environment; cognitive immersion; mythic immersion | |||
| Mundhenke | Florian | Resourceful Frames and Sensory Functions - Musical Transformations from Game to Film in Silent Hill | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Mungan | Remzi Yagiz | Performing video games: Approaching games as musical instruments | MFA Dissertation Purdue University, | 2013 | DM | flow; performance; instruments; interface; installation | |||
| Murphy | David | Flaithrí Neff | Spatial Sound for Computer Games and Virtual Reality | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 287-312 | 2011 | AC | Spatial sound; virtual reality; synthetic environments; mutli-modal spaces; future trends; technology; head related transfer function; implementation; virtual scene | ||
| Mussies | Martine | A Ludomusicologist Goes to the Museum: A Review of Videogames: Design/Play/Disrupt at the Victoria and Albert Museum | Journal of Sound and Music in Games 1/1, 125-132 | 2020 | AP | Exhibition; museum; Victoria and Albert Museum; V&A Museum; curation; canon; expo; game design; game culture | |||
| Nacke | Lennart | Mark Grimshaw, Craig A. Lindley | More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game | Interacting with Computers, 22/5, 336-343 | 2010 | AP | empirical; experiment; cognitive; psychophysiology; EMG; EDA; GEQ; user experience; Half-Life 2; | ||
| Nacke | Lennart | Mark Grimshaw | Player-Game Interaction Through Affective Sound | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 264-285 | 2011 | AC | Affective activity; aesthetics; sound; emotions; empirical; physiological; psychological; interaction; experience; psychophysiological | ||
| Naxer | Meghan | A Hidden Harmony: Music Theory Pedagogy and Role-Playing Games | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 146-158 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | self-determination theory; SDT; education; classroom; learning; engagement; gamification; skill; failure; syllabus; course; difficulty; choice | ||
| Newcomb | David | The Fundamentals of the Video Game Music Genre | James Madison University, DMA Thesis | 2012 | DD | genre; market; atari; companies | |||
| Newman | James | The Music of Microswitches: Preserving Videogame Sound—A Proposal | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0065-8 | preservation; archiving; microswitches | ||
| Newman | James | Driving the SID chip: Assembly Language, Composition, and Sound Design for the C64 | Game: The Italian Journal of Game Studies 6/1 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_Journal_Newman.pdf | Commodore; SID chip; driver affordance; design potential: Rob Hubbard; Martin Galway | ||
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| O'Hara | William | Mapping Sound: Play, Performance, and Analysis in Proteus | Journal of Sound and Music in Games 1/3, 35-66 | 2020 | AP | Proteus; modernism; aleatory music; analysis; indie games | |||
| Oldenburg | Aaron | Sonic Mechancs: Audio as Gameplay | Game Studies 13/1 | 2013 | AP | http://gamestudies.org/1301/articles/oldenburg_sonic_mechanics | audio; sound art; conceptual art; Proceduralism; experimental; acousmatic; non-cochlear; experimental; artgames; vision-impaired | ||
| O'Leary | Jared | Evan Tobias | Sonic Participatory Cultures within, through, and around Video Games | In Roger Mantie and Gareth Dylan Smith (eds.), The Oxford Handbook of Music Making and Leisure (pp. 543-566 | 2016 | AC | https://global.oup.com/academic/product/the-oxford-handbook-of-music-making-and-leisure-9780190244705?cc=us&lang=en& | participatory culture; sonic participation; leisure | |
| Oliva | Costantino | On the ontological status of musical actions in digital games | The Philosophy of Computer Games Conference, Kraków | 2017 | AS | http://gamephilosophy.org/wp-content/uploads/confmanuscripts/pcg2017/Oliva%20-%202017%20-%20On%20the%20ontological%20status%20of%20musical%20actions%20in%20digital%20games.pdf | music games; musicking; performance; play; philosophy; ontology; aesthetics | ||
| Oliva | Costantino | Taiko no Tatsujin: Musical literacy in the Media Mix | DIGRA '19 - Game, Play and the Emerging Ludo-Mix | 2019 | AS | https://s3.amazonaws.com/academia.edu.documents/60730271/Oliva__C._-_Taiko_no_Tatsujin-_Musical_literacy_in_the_Media_Mix_-_Digra_201920190928-130677-1g5npxm.pdf?response-content-disposition=inline%3B%20filename%3DTaiko_no_Tatsujin_Musical_Literacy_in_th.pdf&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIAIWOWYYGZ2Y53UL3A%2F20200202%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20200202T123909Z&X-Amz-Expires=3600&X-Amz-SignedHeaders=host&X-Amz-Signature=c5719f3425f0709f65a45e4cf8fc4af433f7d2716a8cbd8f8920b98324ad3e98 | Literacy; musicking; participation; performance; media mix | ||
| O'Meara | Daniel | Rocksmith and the Shaping of Player Experience | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Rocksmith; rock; music education; pedagogy; guitar; music theory | |||
| Paine | Garth | Interactivity, where to from here? | Organised Sound 7/3, 295-304 | 2002 | AP | https://www.cambridge.org/core/journals/organised-sound/article/interactivity-where-to-from-here/B6D0216390B1F0FE55111792055EA823 | dynamic music systems; sound art; interaction; object-oriented design | ||
| Palacin | Baptiste | Le rôle du son dans l'apparition de la peur dans le jeu vidéo | Ecole nationale supérieure Louis Lumière | 2013 | DM (M) | http://www.expressivegame.com/le-role-du-son-dans-lapparition-de-la-peur-dans-le-jeu-video-2/ | empathetic videoludic fear; sound mise-en-scène; learning process | ||
| Paney | Andrew | Singing video games may help improve pitch-matching accuracy | Music Education Research 17/1, 48-56 | 2015 | AP | feedback; pitch-matching; video games; independent learning; Karaoke Revolution | |||
| Park | Hyeonjin | Melodies of Distant Realms: World Music in the Context of Video Games | Mount Holyoke College | 2015 | DM (U) | http://hdl.handle.net/10166/3680 | world music; sociocultural; ethnography; perception; representation | ||
| Park | Hyeonjin | Understanding the Musical Portrayal of the Desert in Video Games | University of Bristol | 2016 | DM (U) | environment; sociocultural; perception; representation | |||
| Park | Hyeonjin | The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies | Journal of Sound and Music in Games 1/1, 87-94 | 2020 | AP | intersectionality; representation; diversity; inclusivity | |||
| Pasdzierny | Matthias | Geeks on Stage? Inverstigations in the World of (Live) Chipmusic | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Pasinski | Amanda | Possible benefits of playing music video games | Doctoral Dissertation, University of Nevada, Las Vegas | 2014 | DD | Psychology; Gamers; Music; Musicians; Non-musicians; Rock band; Video games; perception; cognition; skill | |||
| Paul | Leonard J. | An introduction to granular synthesis in video games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 135-149 | 2008 | AC | pure data; Max/MSP; granular synthesis; sound effects; car engines; fades; dialogue; crowd; ambient sound | |||
| Paul | Leonard J. | For the Love of Chiptune | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | chiptune; chipmusic; Retro City Rampage; Open ModPlug Tracker; Famitracker; GoatTracker; Commodore 64; Nintendo Entertainment System; Demoscene; Gameboy; MOD Music; trackers | |||
| Paul | Leonard J. | Droppin' Science: Video Game Audio Breakdown | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Peñate Domínguez | F. | “Heute gehört uns die Galaxie”: Music and Historical Credibility in Wolfenstein: The New Order’s Nazi Dystopia | Game: The Italian Journal of Game Studies 6/1 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_Journal_PenateDominguez.pdf | ludic-fictional worlds; historical video games; Nazism; myth; video game music; Wolfenstein. | ||
| Perez | Matthew | Undertale: A Case Study in Ludomusicology | City University of New York Queens College, 2017 | 2017 | DM (M) | https://www.sssmg.org/wp/repository/undertale-a-case-study-in-ludomusicology/ | soundtracks; music composition; musicology; ethics; Undertale | ||
| Perron | Bernard | Guillaume Roux-Girard | Entre synchronisation et action: son et violence dans les jeux vidéo d’horreur | In Richard Bégin, Bernard Perron, and Lucie Roy (eds.), Figures de violence (Paris: L'Harmattan), 81-91 | 2012 | AC | http://www.creationsonore.ca/wp-content/uploads/2015/10/articles_bernard-perron_guillaume-roux-girard_entre-synchronisation-et-action.pdf | synchronization; horror; Dead Space; Condemned: Criminal Origins | |
| Phillips | Winifred | A Composer's Guide to Game Music | Cambridge, MA: MIT Press | 2014 | BM | composition; interactive music; games industry | |||
| Pichlmair | Martin | Fares Kayali | Levels of Sound: On the Principles of Interactivity in Music Video Games | DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play | 2007 | AS | music games; design; game mechanics; synaesthesia; performance; rhythm action | ||
| Pichlmair | Martin | Fares Kayali | Levels of Sound: On the Principles of Interactivity in Music Video Games | paper at Digital Games Research Association Conference | 2007 | AS | http://publik.tuwien.ac.at/files/pub-inf_4783.pdf | music games; interactivity; game design; dynamic music; quantisation; synaesthesia; Guitar Hero; | |
| Pichlmair | Martin | Fares Kayali | Playing Music, Playing Games - Simulation vs. Gameplay in Music-based Games | Vienna Games Conference 2008 'Future and Reality of Gaming' (FROG), Vienna, October 17th-19th, 2008 | 2008 | AS | http://igw.tuwien.ac.at/fares/Fares_Kayali/publications/Entries/2008/11/24_Playing_Music,_Playing_Games_-_Simulation_vs._Gameplay_in_Music-based_Games_files/kayali_pichlmair_playingmusic.pdf | music games; interactivity; simulation; performance; Guitar Hero; interface; game design; Huizinga; ludus; paidia | |
| Plank | Dana | Mario Paint Composer and Musical (Re)Play on YouTube | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Mario Paint Composer; YouTube; fandom; participatory culture; nostalgia | |||
| Plank | Dana | From Russia with Fun!': Tetris, Korobeiniki and the ludic Soviet | The Soundtrack 8/1-2 | 2015 | AP | Tetris; Cold War; folk song; Korobeiniki; Russia | |||
| Plank | Dana | The Penultimate Fantasy: Nobuo Uematsu’s Score for Cleopatra no Ma Takara | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 76-96 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | JRPG; exoticism; Final Fantasy; Dragon Quest; orientalism; occidentalism; colonialism; post-colonial; Egypt; Koichi Sugiyama | ||
| Plank | Dana | Bodies in Play: Representations of Disability in 8- and 16-bit Video Game Soundscapes | Doctoral Thesis, Ohio State University | 2018 | DD | http://rave.ohiolink.edu/etdc/view?acc_num=osu1543506274730883 | Video Game Music; Video Game Sound; Video Game Soundscapes; Soundscapes; Ludomusicology; Disability Studies; Music and Disability; Impairment; Musicology; Video Games; Disability | ||
| Plank | Dana | From the Concert Hall to the Console: Three 8-Bit Translations of the Toccata and Fugue in D Minor | Bach 50/1, 32-62 | 2019 | AP | https://www.jstor.org/stable/10.22513/bach.50.1.0032 | Fugues; Video games; Baroque music; Music transcriptions; Horror fiction; Composers; Pipe organs; Musical pitch; Sound design; Music scores | ||
| Plut | Cale | Philippe Pasquier | Generative music in video games: State of the art, challenges, and prospects | Entertainment Computing 33 | 2020 | AP | adaptive; generative; AI; Spore; No Man's Sky; No One Lives Forever; middleware; FMOD; Wwise | ||
| Pozderac-Chenevey | Sarah | A direct link to the past: nostalgia and semiotics in video game music | Divergence Press | 2014 | AP | http://divergencepress.net/2014/06/02/2016-11-3-a-direct-link-to-the-past-nostalgia-and-semiotics-in-video-game-music/ | Nostalgia; Bastion; Fallout; Zelda; time; longing; popular music | ||
| Quiroz | Ignacio | La función metonímica de los sonidos en The Last Of Us: enfoque desde la teoría del conocimiento de Russell | Monograph presented for National University of Litoral - Argentina | 2018 | BM | https://www.academia.edu/37139745/La_funci%C3%B3n_meton%C3%ADmica_de_los_sonidos_en_The_Last_Of_Us_enfoque_desde_la_teor%C3%ADa_del_conocimiento_de_Russell | the last of us; russell; sound effects; metonymy | ||
| Rauscher | Andreas | Scoring Play - Soundtracks and Video Game Genres | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Reale | Steven | Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/04_Reale_Chaos_in_the_Cosmos/index.html | Katamari Damacy; music theory; music analysis; semiotics; kawaii; leitmotif; | ||
| Reale | Steven B. | Checkpoint!: The floodgates have opened. Report on the North American Conferences on Video Game Music | The Soundtrack 8/1-2 | 2015 | AP | ||||
| Reale | Steven | Barriers to Listening in World of Warcraft | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 197-215 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | postmodernism; works; textuality; agency; MMORPG; temporality; chronology; leveling; raid; dungeon; Blizzard | ||
| Rebillard | Fanny | La structure des bandes-son de jeux vidéo et leur rôle dans l'immersion du joueur: points communs et différences avec les bandes-son de films, l'exemple de "The Legend of Zelda : Ocarina of Time" | Université Paris IV Sorbonne | 2013 | DM (M) | http://www.sudoc.fr/171830253 | The Legend of Zelda; history; leitmotive; cinema | ||
| Rebillard | Fanny | Les enjeux de l'archivage du son dans les jeux vidéo | Ecole Nationale Supérieure des Science de l'Information et des Bibliothèques | 2018 | DM (M) | http://www.sudoc.fr/233059687 | interactivity; digital archives; records management; real-time; online communities | ||
| Reid | George | Chiptune: The Ludomusical Shaping of Identity | The Computer Games Journal (Online First) | 2018 | AP | https://link.springer.com/article/10.1007/s40869-018-0070-y | chiptune; fandom; identity; play | ||
| Reiter | Ulrich | Perceived Quality in Game Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 153-174 | 2011 | AC | Quality of experience; cross-modal interaction; stimuli; plausibility; interactivity; attention; salience model; experimental; interaction; audio domain; task; empirical | |||
| Reyher | Adam | Idea Bank: Popular Culture and Video Games as Tools for Music Learning | Music Educators Journal, Vol.100(3), pp.16-17 | 2014 | AP | lesson; school; teaching; theory; Rhythm Heaven Fever | |||
| Rietveld | Hillegonda | Marco Benoît Carbone | Hear the Music, Play the Game. Music and Game Design: Interplays and Perspectives. | G|A|M|E n. 6/2017 | 2017 | BC | https://www.gamejournal.it/game-n-62017/ | composition; popular music; chip sound; verisimilitude; cross-fade; grime; Ness | |
| Rietveld | Hillegonda | Marco Benoît Carbone | Introduction: Towards a Polyphonic Approach to Games and Music Studies | G|A|M|E n. 6/2017 | 2017 | AP | https://www.gamejournal.it/introduction-towards-a-polyphonic-approach-to-games-and-music-studies/ | game music studies; popular music | |
| Rietveld | Hillegonda | Marco Benoît Carbone | Introduction: Towards a Polyphonic Approach to Games and Music Studies | Game: The Italian Journal of Game Studies 6/1 | 2017 | AP | https://www.gamejournal.it/wp-content/uploads/2019/08/GAME_06_HearTheMusic_Journal_Rietveld_Carbone.pdf | methdodology; musicology; game studies; ludomusicology | |
| Rietveld | Hillegonda | Andy Lemon | The Street Fighter Lady: Invisibility and Gender in Game Composition | ToDiGRA Journal 5/1 | 2019 | AP | http://todigra.org/index.php/todigra/article/view/112 | gender; game music composition; Street Fighter; arcade game culture | |
| Roberts | Rebecca | Fear of the Unknown: Music and Sound Design in Psychological Horror Games | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Silent Hill; horror games; Limbo; Dead Space; semiotics; identification | |||
| Robinson | Ciaran | Game Audio with FMOD and Unity | New York: Routledge | 2019 | BM | FMOD; adaptive; middleware; implementation | |||
| Roesner | David | Anna Paisley; Gianna Cassidy | Guitar Heroes in the Classroom: The Creative Potential of Music Games | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | music games; performance; creativity; interaction; music education; flow | ||
| Roesner | David | The Guitar Hero's Performance | Contemporary Theatre Review, 21/3, 276-285 | 2011 | AP | https://doi.org/10.1080/10486801.2011.585646 | Guitar Hero; virtuality; simluation; paratexts; reality; performativity; instruments; music games | ||
| Rogers | Kate | The Sounds of "Pac-Man Fever": Intersections of Video Game Culture and Popular Music in America | Case Western Reserve University | 2019 | DD | http://rave.ohiolink.edu/etdc/view?acc_num=case1559848783170242 | video game music; video game sound; arcades; fandom; soundscapes; sound studies; ludomusicology; music and technology; film music; novelty songs; technomasculinity | ||
| Rone | Vincent | History and Reception in the Music of The Legend of Zelda Peritexts | Journal of Sound and Music in Games 1/2, 44-67 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/44/106833/History-and-Reception-in-the-Music-of-The-Legend | Zelda; music; peritexts; reception; mythology | ||
| Roux-Girard | Guillaume | Plunged Alone into Darkness: Evolution and the Staging of Fear in the Alone in the Dark Series | In Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 145-167.E156 | 2009 | AC | perception; staging; alone in the dark; horror | |||
| Roux-Girard | Guillaume | Sound and the Videoludic Experience | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | sound; listening; experience; Uncharted 2: Honor Among Thieves; Civilization IV; interactivity | |||
| Roux-Girard | Guillaume | Listening to Fear: A Study of Sound in Horror Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 192-212 | 2011 | AC | Horror; emotion; fear; dread; meaning; sonic structure; gameplay; sound; reception | |||
| Roux-Girard | Guillaume | L’écoute de la peur: une étude du son dans les jeux vidéo d’horreur, | Université de Montréal | 2009 | DM (M) | fear; sound; horror games | |||
| Sadoff | Ronald H. | Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production | In Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press) | 2013 | AC | film scoring; adaptive music; digital post-production; MIDI mockup; audio director; The Departed; The Lord of the Rings; | |||
| Sanders | Timothy | Paul Cairns | Time perception, immersion and music in videogames | Conference paper BCS HCI 2010 | 2010 | AS | https://www-users.cs.york.ac.uk/~pcairns/papers/Sanders_HCI2010.pdf | time perception; immersion; experience; game design; empirical; psychology; cognition; | |
| Sanger | George | The Fat Man on Game Audio: Tasty Morsels of Sonic Goodness | Indianapolis: New Riders | 2003 | BM | written by composer; compositional philosophy; biography; technique; history; technological development | |||
| Saura-Ziegelmeyer | Arnaud | L’Antiquité et les jeux vidéo: représentations sonores | Antiquipop | 2018 | AP | https://books.openedition.org/momeditions/3359 | antiquity; representation; exoticism; Orientalism; Age of Mythology; Ancient Wars: Sparta; Rome: Total War | ||
| Schartmann | Andrew | Maestro Mario: How Nintendo Transformed Video Game Music into an Art | New York: Thought Catalog | 2013 | BM | Nintendo; history; sound effects; arcade games; Super Mario Bros.; Metroid; The Legend of Zelda; chiptune | |||
| Schartmann | Andrew | Koji Kondo's Super Mario Bros. Soundtrack | New York; London: Bloomsbury | 2015 | BM | Super Mario Bros.; history; sound effects; conceptual metaphors; Nintendo Entertainment System; technology | |||
| Schartmann | Andrew | Music of the Nintendo Entertainment System: Technique, Form, and Style | Yale University | 2018 | DD | Nintendo Entertainment System; NES; Mega Man; modularity; loops | |||
| Schmidt | Brian L. | Designing sound tracks for coin-op games, or, Computer music for under $65.00 | Proceedings: 1989 International Computer Music Conference. San Fransisco: Computer Music Association, 273-276. | 1989 | AS | arcade; composition; sound design; function; technology; sound chips; | |||
| Schütze | Stephan | The creation of an audio environment as part of a computer game world: the design for Jurassic Park - Operation Genesis on the XBOX" as a broad concept for surround installation creation | Organized Sound 8/2, 171-180 | 2008 | AP | sound design; sound installation; space; soundscape; technology; surround sound; | |||
| Sextro | Justin | Press Start: Narrative Integration in 16-Bit Video Game Music | University of Missouri-Kansas City | 2015 | DM | https://mospace.umsystem.edu/xmlui/bitstream/handle/10355/46700/SextroPreStaNar.pdf?sequence=1 | Chrono Trigger; Earthbound; Zelda; Narration; 16-bit | ||
| Shultz | Peter | Music theory in music games | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 177-188 | 2008 | AC | music theory; Dance Dance Revolution; Guitar Hero; analysis; teaching; timing; music games; Schenker; learning; flow; challenge; space; reduction | |||
| Shultz | Peter | Rhythm Sense: Modality and Enactive Perception in Rhythm Heaven | In Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury) | 2016 | AC | Rhythm Heaven; rhythm; meter; groove; music game | |||
| Sites | Joshua | It's no game: The effect of a generative music system on flow in video game players | MA Dissertation, Indiana University | 2016 | DM | Psychology; Flow; Generative music; Music listening; Video games | |||
| Sites | Joshua D. | Robert F. Potter | Everything Merges with the Game: A Generative Music System Embedded in a Videogame Increases Flow | Game Studies 18/2 | 2018 | AP | http://gamestudies.org/1802/articles/sites_potter | flow; generative music; GameFlow; algorithmic music; game design; music | |
| Sittler | Ryan | The effects of audio and gender within a 3D gaming environment on the achievement of different educational objectives | Doctoral Dissertation, Indiana University of Pennsylvania | 2015 | DD | Education; Audio; Educational games; Game design; Game development; Information processing; Music | |||
| Smith | Barnabas | Rip & Tear: Deconstructing the Technological and Musical Composition of Mick Gordon's Score for DOOM (2016) | Proceedings of the Australasian Computer Music Conference 2017 | 2017 | AC | http://barnabassmithmusic.com/wp-content/uploads/2017/12/BSmith_ACMC2017DOOM.pdf | Video Game; Music; DOOM; Composition; Score; Technology; Distortion; Guitar; First-Person Shooter | ||
| Smith | Jacob | I Can See Tomorrow In Your Dance: A Study of Dance Dance Revolution and Music Video Games | Journal of Popular Music Studies, 16/1, 58-84 | 2004 | AP | Dance Dance Revolution; fan culture; competitions; music games; party rap; PaRappa the Rapper; imitation games; rhythm games | |||
| Smith | Jennifer | Review of Popular Music in the Nostalgia Video Game: The Way It Never Sounded, by Andra Ivănescu | Journal of Sound and Music in Games 1/2, 84-87 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/84/106831/Popular-Music-in-the-Nostalgia-Video-Game-The-Way | Popular music; nostalgia; appropriation | ||
| Smucker | Peter | Gaming Sober, Playing Drunk: Sound Effects of Alcohol in Video Games | The Computer Games Journal 7/4, 291-311 | 2018 | AP | https://link.springer.com/article/10.1007%2Fs40869-018-0069-4 | alcohol; sound studies; Chrono Trigger; censorship; drinking songs; Punch Out | ||
| Smucker | Peter | Review of Bits and Pieces: A History of Chiptunes by Kenneth B. McAlpine | Journal of Sound and Music in Games 1/1, 119-123 | 2020 | AP | Chiptune; chipmusic; chips; history; Korg; Nintendo; Atari; Spectrum; Commodore; trackers; Game Boy; Gameboy; fakebit | |||
| Soulier | Adrien | Musique et jeux vidéo: de l'interactivité d'un média singulier | Ecole nationale supérieure Louis Lumière | 2016 | DM (M) | https://www.ens-louis-lumiere.fr/sites/default/files/2017-08/Soulier_Son_2016.pdf | narration; system; feedback; reward; interaction; fun | ||
| Sporka | Adam J. | Jan Valta | Design and implementation of a non-linear symphonic soundtrack of a video game | New Review of Hypermedia and Multimedia 4 | 2017 | AP | dynamic music; asset management; music production; Kingdom Come: Deliverance | ||
| Stevens | Richard | Dave Raybould | Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity | In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press) | 2014 | AC | adaptive; dynamic; ludic music; form | ||
| Stevens | Richard | Dave Raybould | The reality paradox: Authenticity, fidelity and the real in Battlefield 4 | The Soundtrack 8/1-2 | 2015 | AP | audio; realism; authenticity; immersion; mediation | ||
| Stevens | Joshua | Child of the Elder Blood: A Semiotics of Folklorism in the Soundtrack of The Witcher 3: Wild Hunt | Games and Culture (issue yet to be assigned) | 2020 | AP | Witcher III; exoticism; ethnomusicology; semiotics; folk music; traditional music; culture | |||
| Stingel-Voigt | Yvonne | Functions and Meanings of Vocal Sound in Video Games | Journal of Sound and Music in Games 1/2, 25-43 | 2020 | AP | https://online.ucpress.edu/jsmg/article/1/2/25/106828/Functions-and-Meanings-of-Vocal-Sound-in-Video | Video games; sound; voice; atmosphere; immersion; added value; flow; empathy | ||
| Stockburger | Axel | The Game Environment from an Auditive Perspective. | In Level Up: Proceedings from DiGRA 2003. | 2003 | AS | http://www.stockburger.at/files/2010/04/gameinvironment_stockburger1.pdf | space; environment; perception; sound design; function; sound objects; acousmatic | ||
| Strank | Willem | The Legacy of iMuse: Interactive Video Game Music in the 1990s | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Stroetgen | Stefan | P(l)aying Music and Games | In Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS) | 2013 | AC | ||||
| Stroud | Joe | The Importance of Music to Anders Behring Breivik | Journal of Terrorism Research, 4/1 | 2013 | AP | https://jtr.st-andrews.ac.uk/articles/10.15664/jtr.620/ | terrorism; background music; ambient music; ideology; music in everyday life; Age of Conan | ||
| Studley | Thomas | Richard Vella, Nathan Scott, Keith Nesbitt | A definition of creative-based music games | ACSW '18 Proceedings of the Australasian Computer Science Week Multiconference | 2018 | AS | https://dl.acm.org/citation.cfm?id=3167921 | music games; creativity; EvoMusic; Soundrop | |
| Summers | Tim | Playing the Tune: Video Game Music, Gamers, and Genre | ACT 2 | 2011 | AP | http://www.act.uni-bayreuth.de/de/archiv/2011-02/02_Summers_Playing_the_Tune/index.html | genre; interaction; musical traditions; alone in the dark; fighting games; strategy games; musical analysis | ||
| Summers | Tim | Understanding Video Game Music | Cambridge: Cambridge University Press | 2016 | BM | analysis; methodology; film music; aesthetics; immersion; dynamic music | |||
| Summers | Tim | From Parsifal to the PlayStation: Wagner and Video Game Music | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Wagner; The Dig; Loom; Halo; Final Fantasy VI; leitmotif; Monkey Island 2; iMUSE; metaphysics | |||
| Summers | Tim | Analysing Video Game Music: Sources, Methods and a Case Study | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; Halo: Combat Evolved; methods | |||
| Summers | Tim | Video Game Music: History, Form and Genre | University of Bristol | 2012 | DD | genre; history; aesthetics; culture; semiotics; speech-act theory; adaptive music | |||
| Summers | Tim | Dimensions of Game Music History | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 139-152 | 2017 | AC | genre; generations; audience; concerts; reception; technologies | |||
| Summers | Tim | Music across the Transmedial Frontier: Star Trek Video Games | In Michael Fuchs, Jeff Thoss (eds.) Intermedia Games—Games Inter Media: Video Games and Intermediality, 207-231 | 2019 | AC | Star Trek; transmediality; history; film music; television music; adaptation; science fiction | |||
| Summers | Tim | Mother/EarthBound Zero and the Power of the Naïve Aesthetic: No Crying Until the Ending | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 35-53 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | JRPG; Michael Nyman; Shigesato Itoi; Hirokazu Tanaka; Keiichi Suzuki; genre; school; education; realism; emotion; nostalgia | ||
| Summers | Tim | Music and the Video Game as Ritual Encounter | Naxos Musicology Online | 2020 | AP | https://www.naxosmusicology.com/opinion/ritual-spaces-music-and-the-video-game-as-ritual-encounter | Ritual; space; theatre; museum; exhibition; Kentucky Route Zero; religion | ||
| Summers | Tim | Opera Scenes in Video Games: Hitmen, Divas and Wagner's Werewolves | Cambridge Opera Journal 29/3, 253-286 | 2018 | AP | https://doi.org/10.1017/S0954586718000046 | Hitman; Assassin's Creed; classical music; Final Fantasy; Gabriel Knight; The Beast Within; Parasite Eve; phantasmagoria; performance; diegetic music; Beggar's Opera; Tosca | ||
| Svec | Henry | Becoming Machinic Virtuosos: Guitar Hero, Rez, and Multitudinous Aesthetics | Loading 2/2 | 2008 | AP | postmodern economics; performance; capitalism; Guitar Hero; Rez; empire | |||
| Sweeney | Mark | Isaac's Silence: Purposive Aesthetics in Dead Space | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | aesthetics; Dead Space; avant-garde; Krzysztof Penderecki; Alien; The Shining | |||
| Sweeney | Mark | Aesthetics and social interactions in MMOs: The gamification of music in Lord of the Rings Online and Star Wars: Galaxies | The Soundtrack 8/1-2 | 2015 | AP | aesthetics; aesthetic experience; gamification; social interaction; Lord of the Rings Online; Star Wars Galaxies | |||
| Sweeney | Mark | Analysing Crysis | University of Oxford | 2011 | DM (M) | dynamic music; mobile form; Crysis; analysis; topic theory; aesthetics; aleatoric composition; | |||
| Sweeney | Mark | The Aesthetics of Videogame Music | University of Oxford | 2014 | DD | https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a | Ludomusicology; Aesthetics; culture industry; Kirkpatrick; play; aleatory; aleatoric; | ||
| Sweet | Michael | Writing Interactive Music for Video Games: A Composer's Guide | Boston, MA: Addison-Wesley | 2014 | BM | composition; interactive music; middleware; industry | |||
| Tafalla | Richard J. | Gender Differences in Cardiovascular Reactivity and Game Performance Related to Sensory Modality in Violent Video Game Play | Journal of Applied Social Psychology 37/9, pp. 2008-23 | 2007 | AP | psychology; DOOM; gender; violence; soundtrack; heart rate; blood pressure; stress | |||
| Tan | Siu-Lan | John Baxa and Matthew P. Spackman | Effects of built-in audio versus unrelated background music on performance in an adventure role-playing game | International Journal of Gaming and Computer-Mediated Simulations, 2/3 | 2010 | AP | Audiovisual; Auditory; Cognitive Load; Interactive; Multimedia; psychology; controller; sources of sound | ||
| Tate | James L. | A Link Between Worlds: The Construction of Nostalgia in Game Music and Final Fantasy IX | University of Surrey | 2017 | DM (U) | Final Fantasy IX; nostalgia; self-quotation; Nobuo Uematsu | |||
| Tatlow | Stephen | Everyone in SpaceWants to Hear You Scream: Toward a Framework for Understanding Player Voice in Virtual Worlds | Journal of Sound and Music in Games 1/3, 15-34 | 2020 | AP | Player voice; game sound; immersion; virtuality; EVE Online | |||
| Teetsel | Sarah | Musical memory of the player, characters, and world of "The Legend of Zelda" video game series | Masters Dissertation, Bowling Green State University | 2015 | DM | Legend of Zelda; Memory; Bob Snyder | |||
| Tessler | Holly | The new MTV? Electronic Arts and 'playing' music | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 13-26 | 2008 | AC | MTV; Grand Theft Auto; licensed music; popular music; promotion; Steve Schnur; industry; marketing; copyright | |||
| Thomas | Chance | Composing Music for Games: The Art, Technology and Business of Video Game Scoring | Boca Raton, FL: CRC Press | 2016 | BM | composition; interactive music; games industry; textbook | |||
| Thomas | M. | Music in Video Games | The International Journal of Urban Labour and Leisure 6/1 | 2004 | AP | overview; industry; promotion; marketing | |||
| Thompson | Ryan | Operatic Conventions and Expectations in Final Fantasy VI | In William Gibbons and Steven Reale (eds), Music in the Role-Playing Game (New York: Routledge), 117-128 | 2019 | AC | https://www.routledge.com/Music-in-the-Role-Playing-Game-Heroes--Harmonies/Gibbons-Reale/p/book/9780815369042 | 16-bit; JRPG; opera; classical music; Nobuo Uematsu; theatre; Handel; leitmotif; structure; theatricality; stage | ||
| Thompson | Ryan | Interactivity in Game Audio: Instances in Which Listening Improves a Player's Gameplay | University of Minnesota | 2017 | DD | https://conservancy.umn.edu/bitstream/handle/11299/194540/Thompson_umn_0130E_18922.pdf?sequence=1&isAllowed=y | Audiosurf; Final Fantasy; Left 4 Dead; communication; information; earcon; audio icon | ||
| Tiger | Guillaume | Synthèse sonore d'ambiances urbaines pour applications vidéoludiques | Conservatoire National des Arts et Métier | 2014 | DD | http://www.theses.fr/2014CNAM0968 | granular synthesis, procedural sound, pure data, sound scape, sound design, field recording, virtual cities, sound effects | ||
| Tinwell | Angela | Mark Grimshaw, Andrew Williams | Uncanny Speech | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 213-234 | 2011 | AC | human; characters; speech; virtual characters; uncanny valley; sound; lip-synch; human-likeness; facial expression; cross-modal; fidelity; uncanniness | ||
| Tobias | Evan S. | Let's Play! Learning Music through Video Games and Virtual Worlds | In Gary E. McPherson, Graham F. Welch (eds.), The Oxford Handbook of Music Education (Oxford: Oxford University Press) | 2012 | AC | music learning; music engagement; music education | |||
| Tonelli | Chris | The Temporary Avatar Zone: Pico-Pico Parties in Tokyo | In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge) | 2014 | AC | Pico-Pico; YMCK; Japan; popular music; performance | |||
| Tonelli | Chris | The Chiptuning of the World: Game Boys, Imagined Travel, and Musical Meaning | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | mobility; musical meaning; music scenes; Nintendo Game Boy; Gaston Bachelard; popular music; chip music; chiptune; Little Sound DJ | |||
| Toprac | Paul | Ahmed Abdel-Meguid | Causing Fear, Suspense, and Anxiety Using Sound Design in Computer Games | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 176-191 | 2011 | AC | emotions; experimental; empirical; fear; suspense; anxiety; Darwinian; James-Lange; cognition; social constructivist; diegetic sound effects; volume; timing; source; synchronization; acoustmatic; untimed | ||
| Tremouiller | Michel | La musique des jeux vidéo | Université de Bourgogne (Dijon) | 2004 | DM (M) | http://www.sudoc.fr/158276388 | videogame music | ||
| Troise | Blake | The 1-Bit Instrument: The Fundamentals of 1-Bit Synthesis, Their Implementational Implications, and Instrumental Possibilities | Journal of Sound and Music in Games 1/1, 44-74 | 2020 | AP | chiptune; 1-bit; one-bit; ZX Spectrum; pulse pin method; pulse interleaving; timbre; polyphony; history | |||
| Tsingos | Nicolas | Isabelle Viaud-Delmon, David Alloza | Réalité virtuelle : Simulation sonore en trois dimensions par Nicolas Tsingos. Phobies à l'épreuve du virtuel, entretien avec Isabelle Viaud-Delmon; propos recueillis par Dominique Chouchan. Le jeu vidéo est un produit de très haute technologie par David Alloza | Les Cahiers de l’INRIA - La Recherche, INRIA, 2009, La guerre des trous noirs | 2009 | AP | https://hal.inria.fr/inria-00527609/document | ||
| Tsukamoto | Masanari | Masashi Yamada, Ryo Yoneda | A Dimensional Study on the Emotion of Musical Pieces Composed for Video Games | Proceedings of 20th International Congress on Acoustics, ICA 2010, 23-27 August 2010, Sydney, Australia | 2010 | AS | https://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p918.pdf | psychology; congruency; experiment; pleasantness; excitation; semantic differential scales | |
| Valente | Andrea | Can Man with a Movie Camera Shoot Enemy Zero? Convergence and Transcoding in Michael Nyman’s Musical Scores | In Claudia Georgi and Brigitte Johanna Glaser (eds), Convergence Culture Reconsidered. Media – Participation – Environments (Göttingen: Universitätsverlag Göttingen) 195–207 | 2015 | AC | https://mediarep.org/bitstream/handle/doc/12929/Convergence_Culture_Reconsidered_195-207_Valente_Convergence_Transcoding_Michael_Nyman_.pdf?sequence=3 | transmediality; film; movies; borrowing; intermedia | ||
| van Elferen | Isabella | Gothic Game Music: Hyperreality Haunted | In Gothic Music: The Sounds of the Uncanny | 2012 | AC | horror; gothic; Resident Evil; Silent Hill: Shattered Memories; Call of Cthulhu; uncanny; hyperreal; magic circle; Myst; Lost | |||
| van Elferen | Isabella | Sonic Descents: Musical Dark Play in Survival and Psychological Horror | In Jonas Linderoth (ed.), The Dark Side of Game Play: Controversial Issues in Playful Environments. | 2015 | AC | horror; dark play; Amnesia: The Dark Descent | |||
| van Elferen | Isabella | Analysing Game Musical Immersion: The ALI Model | In Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox) | 2016 | AC | analysis; affect; literacy; interaction; immersion; Dead Space 2; Amnesia: The Dark Descent; Remembering | |||
| van Elferen | Isabella | Perpetuum Mobile: Musical Virtual Worlds from Sound Recording to Videogames | In Nicholas Cook, Monique Ingalls, David Trippett, and Peter Webb (eds.), The Cambridge Companion to Music and Digital Culture | 2017 | AC | virtual reality; musical immersion; mobile music; affect; embodiment; drastic | |||
| van Elferen | Isabella | Un Forastero! Issues of Virtuality and Diegesis in Videogame Music | Music and the Moving Image 4/2 | 2011 | AP | virtuality; magic circle; flow; hyperreal; ludic; narrative; Guitar Hero; Resident Evil; intermediality; GPS; dynamic music; uncanny; diegesis | |||
| van Elferen | Isabella | Ludomusicology and the New Drastic | Journal of Sound and Music in Games 1/1, 103-112 | 2020 | AP | drastic; gnostic; Carolyn Abbate; ludomusicology; musicology; critical theory; interactivity; play; phenomenology; liveness | |||
| van Elferen | Isabella | Virtual Worlds from Recording to Video Games | In Nicholas Cook, Monique M. Ingalls and David Trippett (eds) The Cambridge Companion to Music in Digital Culture | 2019 | AC | immersion; virtual world; reality; phenomenology; listening; drastic | |||
| van Geelen | Tim | Realizing groundbreaking adaptive music | In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 93-102 | 2008 | AC | future; adaptive composition; | |||
| Veneri | Olivier | Architecture d'un intergiciel pour la création sonore dans les jeux vidéo | Conservatoire National des Arts et Métier | 2009 | DD | http://www.sudoc.fr/140626158 | Cue processing, sound designer, real-time music, sound design tool | ||
| Villarreal III | Armando | The Effects of Music on Gameplay and Immersion | MIT | 2009 | DM (M) | experience; immersion; Gears of War; questionnaire; empirical; game design | |||
| Villepreux | Tommaso | La musique dans le jeu vidéo: fonction et interaction | Université Paris 8 Saint-Denis | 2014 | DM (M) | role of music; interaction | |||
| Villepreux | Tommaso | Les stéréotypes genrés de la musique de jeux vidéo | Université Paris 8 Saint-Denis | 2016 | DM (M) | gendered stereotypes | |||
| Visi | Federico | Frithjof Faasch | Motion Controllers, Sound, and Music in Video Games: State of the Art and Research Perspectives | In Duncan Williams and Newton Lee (ed.), Emotion in Video Game Soundtracking (Cham: Springer), 85-103 | 2018 | AC | instruments; corporeality; motion; engagement; emotion; body; corporeality | ||
| Wang | Ge | The World Is Your Stage: Making Music on the iPhone | In Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press) | 2014 | AC | iPhone; app; mobile phone; mobile music; social music; physical interaction design; Smule; Ocarina; Sonic Lighter;Leaf Trombone: World Stage; Stanford University; CCRMA. | |||
| Weiser | Matthieu | L’Ambiance narrative musicale de Final Fantasy VII | Université de Poitiers | 2010 | DM (M) | narration; Final Fantasy VII; Nobuo Uematsu | |||
| Werle | Xavier | The Music of World of Warcraft Lore of Epic Music | Doctoral Dissertation University of California, Los Angeles | 2014 | DD | analysis; epic music; Warcraft; Hans Zimmer; trailer; theory; blizzard; RPG | |||
| Weske | Jörg | Digital Sound and Music in Video Games | Online Research Website | 2002 | ER | http://3daudio.info/gamesound/ | history; technology; genre; dynamic music; interview | ||
| Western | Gary | Top Score: The Evolution and Significance of Video Game Music | CSU Monterey Bay | 2011 | AS | https://garywestern.files.wordpress.com/2011/04/garywestern_topscore.pdf | music games; history; function; technology; MIDI; culture; chip music | ||
| Whalen | Zach | Play Along - An Approach to Videogame Music | Game Studies 4/1 | 2004 | AP | immersion; function; cartoon music; mickey mousing; narrative; Super Mario Bros.; Legend of Zelda; Silent Hill; | |||
| Whalen | Zach | Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill | In Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 68-81. | 2007 | AC | film music; musical function; silence; Silent Hill; horror; radio; static; adaptive music | |||
| Wharton | Alexander | Karen Collins | Subjective Measures of the Influence of Music Customization on the Video Game Play Experience: A Pilot Study | Game Studies 11/2 | 2011 | AP | http://www.gamestudies.org/1102/articles/wharton_collins | customization; customisation; experience; choice; psychology; Fallout; immersion; emotion; tactics; performance; playlist; personalisation; multiplayer; empirical; social | |
| Whitmore | Guy | A DirectMusic Case Study for Russian Squares for Windows XP Plus Pack | In Todd M. Fay with Scott Selfon and Todor J. Fay (eds), DirectX 9 Audio Exposed: Interactive Audio Development (Plano, Texas: Wordware Publishing), 369-386 | 2004 | AC | adaptive music; puzzle games; compositional challenges; sound examples; audio design; case-study; written by composer | |||
| Whitmore | Guy | A DirectMusic Case Study for No One Lives Forever | Todd M. Fay with Scott Selfon and Todor J. Fay (eds), DirectX 9 Audio Exposed: Interactive Audio Development (Plano, Texas: Wordware Publishing), 387-415 | 2004 | AC | interactivity; adaptive music; dynamic music; transition; FPS; first-person shooter; horizontal resequencing; The Operative | |||
| Wilde | Martin D. | Audio Programming for Interactive Games | Oxford and Burlington, MA: Focal Press | 2004 | BM | how-to; music programming | |||
| Wilhelmsson | Ulf | Jacob Wallén | A Combined Model for the Structuring of Computer Game Audio | In Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 98-130 | 2011 | AC | IEZA-framework; audio building; film sound; affordance; Murch; Gibson; Huiberts; van Tol; layering; encoded; embodied' cognition' functionality; loudness; frequency range; F.E.A.R.; Warcraft III; Legend of Zelda; tollset; production; structure; game design document | ||
| Williams | Duncan | Newton Lee | Emotion in Video Game Soundtracking | Cham: Springer | 2018 | BC | emotion; algorithmic composition; BCMI; cutscenes | ||
| Williams | Duncan | Jamie Mears, Alexis Kirke, Eduardo Miranda, Ian Daly, Asad Malik, James Weaver, Faustina Hwang, Slawomir Nasuto | A Perceptual and Affective Evaluation of an Affectively Driven Engine for Video Game Soundtracking | Computers in Entertainment 14/3 | 2016 | AP | https://cie.acm.org/articles/perceptual-and-affective-evaluation-affectively-driven-engine-video-game-soundtracking/ | dynamic music; algorithmic composition; procedural music; emotional congruence; immersion; World of Warcraft | |
| Williams | Duncan | Affectively-Driven Algorithmic Composition (AAC) | In Duncan Williams and Newton Lee (ed.), Emotion in Video Game Soundtracking (Cham: Springer), 27-38 | 2018 | AC | Warcraft; algorithmic music; generative music; arousal | |||
| Winters | Ben | Idolizing the Synchronized Score: Studying Indiana Jones Hypertexts | In Miguel Mera, Ronald Sadoff, and Ben Winters (eds), The Routledge Companion to Screen Music and Sound (New York: Routledge), 513-542 | 2017 | AC | Lego Indiana Jones; film music; transmediality; John Williams | |||
| Wood | Simon | Video Game Music - High Scores: Making Sense of Music and Video Games | In Graeme Harper, Ruth Doughty and Jochen Eisentraut (eds), Sound and Music in Film and Visual Media: An Overview (New York and London: Continuum, 129-148 | 2009 | AC | Tom Clancy's Splinter Cell; adaptive music; narrative; states; film music | |||
| Wooller | Rene | Andrew R. Brown, Eduardo Miranda, Rodney Berry, Joachim Diederich | A framework for comparison of processes in algorithmic music systems | Generative Arts Practice (Sydney: Creativity and Cognition Studios Press), 109-124 | 2005 | AP | generative music; dynamic music; algorithmic music; composition; middleware; software design | ||
| Yamada | Masashi | Nozomu Fujisawa, Shigenobu Komori | The Effect of Music on the Performance and Impression in a Video Racing Game | Journal of Music Perception and Cognition 7, 65-76 (Japanese) | 2001 | AP | psychology; experiment; racing game | ||
| Yee | Thomas B. | Battle Hymn of the God-Slayers: Troping Rock and Sacred Music Topics in Xenoblade Chronicles | Journal of Sound and Music in Games 1/1, 2-19 | 2020 | AP | semiotics; musical topics; topical troping; post-war Japanese history; religion in video games | |||
| Youngdahl | Erik | Play Us a Song: The Structure and Aesthetics of Music in Video Games | Wesleyan University | 2010 | DM (U) | http://wesscholar.wesleyan.edu/cgi/viewcontent.cgi?article=1500&context=etd_hon_theses | aesthetics; experience; immersion; dynamic music; atmosphere; Legend of Zelda; PaRappa the Rapper; Rock Band | ||
| Zdanowicz | Gina | Spencer Bambrick | The Game Audio Strategy Guide: A Practical Course | New York: Routledge | 2020 | BM | implementation; dynamic music; education; adaptive music; composing | ||
| Zdanowicz | Gina | Spencer Bambrick | The Game Audio Strategy Guide: A Practical Course | New York: Routledge | 2020 | BM | implementation; dynamic music; interactivity; adaptive music; industry; business | ||
| Zehnder | Sean M. | Scott D. Lipscomb | The Role of Music in Video Games | In Peter Vorderer and Jennings Bryant (eds.), Playing Video Games: Motives, Responses and Consequences (Mahwah, New Jersey and London: Lawrence Erlbaum Associates, Publishers), 241-258. | 2006 | AC | psychology; genre; empirical surveys; communication; perception; musical options; applied aesthetics | ||
| Zénouda | Hervé | Nouvelles organologies du sonore: les audio-games: La question des interfaces a-musicologiques | Interfaces numériques 1/3, 521-545 | 2012 | AP | https://hal.archives-ouvertes.fr/sic_01759548 | audio games; interfaces; playability; synaesthesia; audiovisual | ||
| Zhang | Jiulin | Xiaoqing Fu | The Influence of Background Music of Video Games on Immersion | Psychology & Psychotherapy 5/4 | 2015 | AP | immersion; background music; questionnaire; King of Fighters |